The 

Artof/Aordanting 

and Staining 






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%««<«^vvwn''v<^t'^"t^'>vva-'VU'nH^ C^z-A-^^UX-ftUv^w*^ , 



THE ART 



OF 



M ORD A NTI NG 



AND 



STAINING 



AND THE COMPLETE TREATMENT 



OF 



WOOD SURFACES 



A HANDBOOK AND AID FOR ARCHITECTS, CABINET 

MAKERS, DECORATORS, PAINTERS, PIANO 

FACTORIES AND TRADE SCHOOLS 



BY 

WILLIAM ZIMMERMANN 

INSTRUCTOR OF CHKMISTRY IN POLYTECHNIC 
INSTITUTE, BARMEN, GERMANY 



BOSTON, MASS.: 

THE ARTI-STAIN CO. 

1911 






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First English Edition 



Copyright 191 i 

BY 

W. F. PURSCHER 



All Rights Reserved 



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ARTI-STAIN CO. 

Sole Agents for U. S. A. and the 
Dominion of Canada 



!)CI.A28t)433 



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PREFACE 



Since the appearance of the Fifth Edition of this 
work in 1908, it has again been considerably enlarged and 
revised and the results incorporated in the present Sixth 
Edition. 

In the portion relating to staining, the chapter on 
Brown Stains, which occupy an important position in 
connection with modern furniture and fittings, has been 
completely revised and enlarged by the introduction of 
the new and practically-tested Special-Oak Stains, An- 
thracene Stains and Genuine-Mahogany Stains, which 
have been very favorably received. 

Because of their lesser importance, the number of 
staining formulas for bright colors has been diminished, 
but these have been replaced by staining formulas for new 
products of greater fastness to light. 

All suggestions and experiments since the last edition 
have been incorporated here. The Sample Card of colors 
(in the Supplement) has been made to correspond with the 
new formulas in the book. 

The rapid distribution of five preceding editions has 
demonstrated the earnest patronage accorded me, and I 
now place this Sixth Edition with the public in full con- 
fidence that it will prove an authoritative adviser in all 
problems pertaining to wood-staining. 

WILLIAM ZIMMERMANN. 

Barmen, April, 1910. 



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GENERAL CONTENTS 



PAGE 

The Art of Mordanting and Staining ..... 9 

Advantages of Mordanting Wood as Compared with Body-Colors 

and Glazing ......... 10 

Properties of a Good Wood Stain . . . . . .11 

Fastness to Light and Air . . . • 13 

Deep Penetration of the Stain into the Pulp of the Wood . .17 

Preserving the Natural Marking of the Wood . . . • IQ 

Spotless and Uniform Staining of Large Surfaces . . .20 

Preliminary Treatment of the Wood before Staining . . .24 

Preliminary Treatment with Linseed Oil . . . -24 

Preliminary Treatment of the Wood with Arti-Equalizer . 25 

Preliminary Treatment of Coniferous Woods with Benzoic So- 
lutions before Staining ....... 27 

Preliminary Treatment of Oak with Solution of Sodium Chloride, 27 
Staining Cross-Grained Wood ....... 28 

Removal of Surface Resin from Resinous Woods before Staining, 29 
Preliminary Treatment of Wood already Oiled before Staining, 32 
Simple Method of Using a Wood Stain and Certainty of its Result, 33 
General Rules for Staining Wood ... . . . . -34 

The Dissolving of Dyes and Chemicals . . -39 

Simplified Method for Manufacture of Staining Solutions Ready 

for Use. (Stock Solutions) ...... 40 

Low Cost of Manufacturing the Staining Solutions . . . 44 

Preservation of Dyes, Chemicals and Staining Solutions . . 45 



SPECIAL CONTENTS 



PAGE 

A. Water Stains ....... 46 

Brown Stains ........ 47 

Antique Oak Imitations . . . .48 

Fuming of Oak ........ 48 

Intensified Antique Oak Staining . . -50 

Antique Oak Staining with Grayish-Brown Tone . . 52 

Darkening the Fumed Tone . . 52 

Antique-Oak Staining of Woods Containing Little Tannin 

by Means of Fuming . . . -53 

Lightening the Fumed Stain • • • • • 54 

Antique-Oak Imitations with Light-proof Water Stains 55 

Preliminary Treatment of Oak Before Staining . 56 

Antique Stains J. K. L. S. and M • • •■ 57 

Old Oak Imitations with Light-proof Aniline Dyes (New- 
Brown Stains) ....... 59 

Antique-Oak Staining of Woods with Prominent Marking 

but Containing Little Tannin . .62 

Walnut Imitations ........ 63 

Walnut Imitation with Granular Walnut Stain . 63 

Walnut Imitations with Permanganate of Potassium 64 

Walnut Imitations with Aniline Dyes . . .66 

Darkening of Natural Walnut Wood . 67 

Rosewood Imitation ........ 67 



PAGB 

Mahogany Imitations ....... 68 

Darkening the Natural Mahogany Wood . . .70 

Unhealthy Effects of Potassium Chromate Stains . .71 

Staining of Genuine Mahogany . , . . -72 

Brown Staining with Light-proof, Acetous Aniline Dyes in 

Modern Tones ....... 73 

(a) Staining on Wood Containing Little Tannin . . 74 

(b) Staining on Oak Wood ...... 78 

Anthracene Stains .81 

Method of Making Solutions of Anthracene Stains . . 82 

(c) Anthracene Stains on Oak . . . .82 

(d) Anthracene Stains for Woods Containing Little Tan- 

nin 85 

(e) Special-Oak Stains, Liquid, and Ready for Use . 87 
Directions for Using the Special Oak Stains . . .88 

Ebony Wood Imitations ........ 90 

Staining Wood Gray . . . . . . . -91 

Gray Staining of Woods Containing Tannin by Means of 

Green Vitriol ....... 92 

Gray Staining of Woods Containing Little Tannin by 

Means of Green Vitriol . . . . .93 

Gray Stains with Aniline Dyes and Combined Stains . 95 
Staining Wood Red ........ 100 

Yellow and Orange Stains ....... 102 

Green and Olive Green Stains ...... 103 

Blue and Violet Stains ........ 106 

Water-proof and Washable Wood Stains (Oxidine Stains) 109 

General Remarks Concerning Water-proof and Washable 
Wood Stains . . . . . . . .110 

General Rules for the Use of Precipitate Stains . .111 

Advantages of Precipitate Stains . . . .113 

Precipitate Fumed Stains . . . . . -114 

Precipitate Stains Whose Final Tone is Obtained by Suc- 
cessive Staining with Aqueous Solutions of Two Ap- 
propriate Chemicals . . . . .121 



Sulphamine Stains 

Black for All Kinds of Wood 

B. Turpentine Stains and Turpentine Wax Stains 

(a) Turpentine Stains . 

(b) Turpentine Wax Stains 

G. Alcohol Stains 



PAGE 
123 
126 

126 

127 
129 

130 



The Staining of Shellacs, Mattings and Alcohol Varnishes 

with Aniline Stains (Alcohol Stains) Soluble in Alcohol, 132 

Formulas for Staining Shellacs, Alcohol Varnishes and Mat- 
tings 134 

The Coloring of Wax . . . . . . 136 

Process for Subsequent Covering of Unstained Pores of 

Stained Oak . . . . . . . .136 



Weights and Measures 



139 



The Art of Mordanting and 
Staining 

At the great expositions recently held in Dresden, 
Nuremburg, Reichenburg (Bohemia) and in Berlin, it 
was demonstrated anew with what importance color is 
regarded as a factor of modern interior construction. 
Seldom, if ever before, have there been exhibited such 
simply-constructed rooms whose effect was obtained al- 
most exclusively by color scheme. 

Undoubtedly color is one of the strongest means of 
impressing the human mind. Through its agency may be 
produced an atmosphere of warmth and cheer or a contra 
effect of cold and repellency; a stately, dignified interior, or 
walls emanant of festive brightness. It is essentially a 
predominating force, and being also the cheapest auxiliary 
means of decoration, its practicability as applied to the 
dwelling rooms of those moderately circumstanced is highly 
evident. 

Craftsmen, cabinet-makers, decorators, painters, and 
all whose calling is associated in some measure, great or 
small, with the use and application of stains and mordants, 
should be, as a matter of course, thoroughly familiar with 
the primary essentials of preparation, both of the surface 
to be stained and of the stain-composition itself, in order 
to achieve clever results. 

The first attempts at staining our domestic uncolored 
woods a certain designated tone, were made with the ob- 
ject of imitating the magnificent and gorgeously-colored, 
but expensive, tropical woods; and also of staining the 
naturally light young wood the prized dark tone peculiar 
to old wood. 



10 MORDANTING AND STAINING 

It is only recently that domestic uncolored woods have 
been stained all conceivable colors not inherent to the 
natural wood. When this new branch of cabinet-making 
had its inception a few years ago, and prominent artists 
and artisans offered their services, they suggested novelties 
other than the usual brown tones thus far used, with the 
intention of treating the entire room according to one 
designated color scheme. 

The somewhat crass colors used at first, such as bright 
green, blue, etc., have, of course, given way to more sub- 
dued, intermediary tones, — faint blue-green, greenish- 
gray, gray-brown, etc. 



Advantages of Mordanting Wood as Compared 
With Body- Colors and Glazing 

Among experts and the intelligent public to-day, 
stained wood is in high favor, and to the art of wood-stain- 
ing is therefore opened an ever-increasing field of appli- 
cation. The foundation of this method of coloring various 
objects and constructions of wood depends on that proper- 
ty common to all wood-staining, — of retaining and inten- 
sifying the natural texture and marking characteristic 
of each species. 

That this requirement cannot be met by means of the 
formerly universal method of painting the wood with body 
colors is very evident, as all body-colors consist of insoluble 
materials which are applied with the help of proper binders, 
such as linseed-oil, varnish and turpentine in more or less 
thick coats. On account of their impermeability to light, 
as the very name implies, they cover the entire surface of 
the wood so completely that it is no longer possible to 
recognize its species. 

The artificial graining subsequently executed with 
stencils and transfer-paper or by free-hand over this coat- 
ing, does not deceive the eye; for even though an artist's 



MORDANTING AND STAINING II 

handiwork, it is easily distinguishable from the natural 
wood grain. 

If the coat of varnish subsequently applied to protect 
the glazing or graining color has been worn off in spots by 
repeated washing or otherwise, then this layer of color 
adhering only to the outer surface of the wood is soon 
worn away and the bare wood shows. 

The new technics of wood mordanting, or wood 
staining, are based on entirely different principles. 

The dyes or chemicals used are perfectly soluble in 
water or other solvents, such as turpentine or alcohol, so 
that these dyes and chemicals, penetrating with their 
solvents (water, turpentine, alcohol) up to a certain depth 
in wood, remain therein when the solvents evaporate, thus 
according a stained surface. 

In many instances of wood-staining, the dye is actually 
generated (chemically) in the wood fiber and left there 
by means of the consecutive effect of two proper chemi- 
cals, or by the effect of chemicals on the tannic acid already 
in the wood. 

In whatever manner the staining is done, whether by 
means of solutions of prepared stains, or by means of the 
reciprocal action of chemicals on each other, there is 
always an actual staining of the pulp of the wood up to the 
depth of one-half to three-fourths of a millimeter, to which 
the mordant solutions actually penetrate within the wood. 

On this property of the stain, to penetrate into the 
pulp of the wood itself and to deposit there the dissolved 
stain, rests its capacity for sharply intensifying the struc- 
ture of any kind of wood. The pulp of different kinds of 
wood is by no means of uniform hardness and density. In 
particular the annual rings in our domestic evergreens are 
always harder than the wood in between. But in the 
harder deciduous woods also, where the difference between 
the annual rings and the rest of the wood is not so marked, 
there are always differences in the density of separate parts 
of one and the same surface. 



12 MORDANTING AND STAINING 

The penetrating capacity of the staining solutions is 
favorably or unfavorably influenced by these differences 
in density and hardness of the separate parts of one surface. 
In the softer parts of the wood the stain not only penetrates 
deeper, but greater quantities of it are absorbed than in 
the harder and denser portions. Hence in the softer parts 
of the wood there is a much greater amount of color de- 
posited than in the harder parts, corresponding to the 
increased assimilation of the stain ; and after staining, these 
appear darker, generally showing a more tinged shading 
than the harder parts. This is especially characteristic of 
evergreens, such as firs, pines, pitch-pines, Carolina pines 
and yellow pines. By the various absorbent qualities of 
soft and hard parts in the same surface is to be explained 
the fact that the marking and silver grain of the wood, 
which are scarcely visible in its natural state, come into 
prominence after staining with an enhanced beauty due to 
the tinged shading. 

Therefore it will be perceived that the staining of wood 
not only affords us a desired color effect, but presents un- 
changed the natural marking characteristic of each spe- 
cies. The process has taken its rank among the foremost 
arts of the day, and it is hoped to accord within these 
pages a comprehensive aid to its higher advancement and 
utmost perfection. 

Properties of a Good Wood Stain 

Because of the long periods of usage given wood- 
structures, we require of a stained wood in the first place, 
resistance to the effect of light and air. But this is not the 
only essential; there are a large number of chemicals and 
dyes which are very fast to light, and yet are not fitted for 
wood-staining. 

A wood stain, to fulfil all requirements for use, in 
addition to its light-proof quality, must be easily and 
clearly soluble and remain clear in its solution; must pene- 



MORDANTING AND STAINING 1 3 

trate deeply into the pulp of the wood, intensify strongly 
the natural marking, and when staining large surfaces, be 
uniform and spotless. Furthermore, its application must 
be simple, the result certain, and the cost to manufacture 
be low. 



Fastness to Light and Air 

The fading (bleaching) of all colors and dyed materials 
is caused by the usual effect of the sun's rays in conjunction 
with the oxygen in the air and the moisture always in the 
atmosphere. By the combined effect of these three agents 
all dyes are changed in a longer or shorter period of time 
into colorless substances, or else undergo decided changes 
in tone. This is true not only of wood stains, but also of 
all natural and artificial dyes in general ; therefore also for 
body-colors, glazing-colors and colors with which our 
clothing material is dyed or printed. 

The French chemist, Chevreul, has shown experi- 
mentally that fading of dyes and dyed materials cannot 
occur in sunlight alone without the presence of air and 
moisture. But this knowledge has never been availed of 
up to the present time, as we have not been able to pre- 
serve our diversely stained, mordanted, glazed and painted 
wooden objects in an absolutely dry and air-free room. 
Therefore we have to reckon with the factor that in the 
course of time all colored objects change or lose entirely 
their original tone. Absolutely light-proof products are 
lacking both in natural as well as artificial dyes; however, 
the length of time required for light and air to work such 
thorough changes in dyed materials varies extraordinarily. 

On the one hand, while we possess dyes which in a 
direct light totally change, or entirely lose their original 
tone after a few days, on the other hand there are a number 
of such products which resist a direct light for many 
months without any considerable change, and last many 



14 MORDANTING AND STAINING 

years practically unchanged in the exceedingly dry air of 
our dwellings and in the sunlight which is diffused in them. 

The darkening and deadening of the natural or arti- 
ficial coloring of the wood in furniture is by no means to be 
attributed to a change in the dye alone, but is due prin- 
cipally to a change in the ground-color of the wood. It is 
universally known that wood especially rich in tannin, 
such as oak, mahogany, and also walnut, darken very 
decidedly on account of the effect on the tannin in the wood 
by the ammonia always in the atmosphere, a phenomenon 
which is called the "aging of the wood." 

But also woods with little tannin, such as fir, pitch- 
pine, maple, etc., lost their bright, natural color and 
become yellower and darker upon long exposure to light 
and air. 

According to the length of time it takes for a decided 
change in the original tone of a colored object, due to the 
influence of light, air and moisture, are made the differ- 
entiations, — practically fast, medium fast, and fading, or 
fugitive colors. 

While the artificial dyes in use commercially up to 
1880 had very little fastness and had no general applica- 
tion to wood-staining, among the innumerable recent coal- 
tar derivatives we have a sufficient number of such dyes 
which not only equal the natural vegetable dyes in light- 
proof qualities, but in most instances far surpass them. 

Among the two thousand and more artificial dyes 
used commercially to-day in the various factories, it is not 
easy to select those which are fast to light and air and are 
therefore adapted for wood staining. It requires a thorough 
knowledge of the properties of the various coal-tar dyes 
which only the specialist in this branch can have. 

Unfortunately this most important requirement of 
fastness to light in a good wood stain was given very little 
attention until recently. About fifteen years ago, when 
men first concerned themselves with the achievement of 
stains in modern tones, fugitive dyes dating from the very 



MORDANTING AND STAINING 1 5 

first aniline period were deliberately used. Enjoyment of 
the results obtained was therefore short-lived, and it seemed 
probable that the new manner of modern wood-staining 
would perish in embryo; for once a more or less legitimate 
prejudice based on sad experience has settled on the 
purchasing public, the impression is lasting and cannot 
be dispelled until its deep-rooted effect has been overcome. 

It would be unfair to place upon the cabinet-makers 
responsibility for bygone mistakes, for they could use only 
those dyes and wood stains for their work which were 
offered as available by the dye-works and wood-stain 
manufacturers, and these were almost, without exception, 
of decidedly inferior quality. 

In general the following rules apply to the fastness to 
light of wood stains: 

1 . With the chemicals and dyes available at the present 
time, water-stains can be made which satisfy all 
reasonable requirements as to fastness to light. But 
dyes absolutely fast to light cannot be made, either 
with natural vegetable dyes nor with artificial dyes. 

2. As regards fastness to light, mineral dyes are much 
superior to vegetable dyes and aniline dyes, but they 
cannot be used for wood-staining because they are 
insoluble, and hence do not fulfil the basic require- 
ment of penetrating into the fiber of the wood and 
maintaining the natural marking. 

3. Alcohol stains, as well as turpentine and wax stains, 
usually have only a very medium fastness to light 
and do not equal the good water-stains in this 
respect. Among alcohol, turpentine and wax 
stains, gray and black stains are the most light- 
proof. 

4. The capacity of a stained-wood surface to resist the 
effect of light is furthermore dependent on the in- 
tensity or the depth of the tone in each individual 
case. A dark tone is always faster than a medium, 
and the latter has more resistance than a light stain, 



1 6 MORDANTING AND STAINING 

if the same stain or the same dye is used in each 
instance. The following examples may demonstrate 
this : For Case I , stain one square meter of a certain 
kind of wood a very strong dark tone, so that lO 
grams of the dye are absorbed by the wood ; for Case 
2, one square meter of the same wood with the same 
stain but in a lighter tone, so that only one gram of 
the dye is absorbed by the wood. Set both tests in 
the light simultaneously. In a certain length of 
time, due to the destructive effect of the sunlight, in 
conjunction with the air and moisture, a certain 
amount of the dye, say 0.5 gram, is dissipated. 
With the dark-stained wood 9.5 grams of the dye 
remain intact, so that the stained wood is only a 
trifle lighter (5%) and seems somewhat duller. 
With the light stain on the other hand, half of the 
dye (50%) is dissipated ; this seems very much faded 
and changed in tone, and yet in both cases the same 
stain has been used. This example shows us further 
that in making experiments in exposure to the sun- 
light, the same depth of color must always be used 
in order to obtain a conclusive decision concerning 
the respective fastness to light. 

5. The layer of shellac, varnish or wax always covering 
stained wood, protects the stain from the effect of 
water, and prevents the penetration of rays of light 
only to a slight degree; hence delaying the dissipa- 
tion of the dye by light but a trifle.* 

6. If it is necessary to mix two or more shades to get a 
certain tone, only such colors should be chosen as 
possess practically the same fastness to light. For 

, example, if an orange, fast to light, and a green, not 
fast to light, should be used for an olive-green stain, 
the green would fade in a short while and the stain 
would quickly change to orange, — that is, the stain 
would become discolored. 

♦Schramm and Jungle: Interior Decoration, April, 1906. 



MORDANTING AND STAINING 1 7 

Every user of wood stains should possess an independ- 
ent knowledge of their light-proof qualities and personally 
obtain the test by simultaneous exposure to light of small 
stained, shellacked or varnished boards. These compara- 
tive experiments must be made with equal conditions and 
during the months of May to September; for in the fall or 
winter months the sun's rays have little effect, and the 
experiments may very easily deceive. They should be 
conducted behind a pane of clear glass fixed obliquely 
toward the south, so that the sun's rays can fall as nearly 
as possible vertically on the stained surfaces. In deter- 
mining the degree of fastness to light, the simultaneous 
exposure of a stain of recognized excellent fastness to light 
and of one which is not, is necessary in order to ascertain 
in which category the stain under exposure should be 
included. 

In the description of individual stains, their power of 
resisting the effect of light will always be discussed in detail. 

Deep Penetration of the Stain Into the Pulp of 

the Wood 

In applying the liquid stains, especially water-stains, 
the grain of the wood is more or less raised, and in order to 
facilitate a perfectly smooth surface, a thorough rubbing 
with curled hair should be given before the subsequent 
shellacking, matting, etc. 

If the stain does not penetrate deeply and the wood is 
only surface stained, it is easily rubbed through, especially 
at the edges, exposing the raw wood in spots. This un- 
toward occurrence is usually to be feared if the wood has 
been subjected to some quick polisher, such as sandpaper, 
etc., applied under too great pressure. 

Rubbing through is avoidable by the following pre- 
cautionary measures: 

I. Dampen surfaces to be stained with a very moist 
sponge, but do not rub until the pores have swelled 



1 8 MORDANTING AND STAINING 

and the grain is raised. Thoroughly sandpaper 
without pressure or scouring. Surfaces poUshed in 
this way have the grain raised very Httle when 
staining with water-stains. 
2. For poUshing the mordanted surface use only horse- 
hair or perfectly smooth sandpaper. The latter is 
preferable with large-pored woods like oak, as horse- 
hair often dislodges the stain from the pores. (Only 
"00" sandpaper should be used, and that when it 
is worn so it no longer catches on wood.) 
The greater or lesser depth to which stain may pene- 
trate into the pulp of the wood depends largely upon the 
density or hardness thereof. Obviously the liquid applied 
to hard wood cannot penetrate so deeply as in soft wood. 
A large amount of resin in the wood will also greatly 
impede the penetration of the staining solution because of 
its fatty elements. Thus the penetrating qualities of in- 
dividual groups of stains are very diverse. 

Alcohol stains penetrate deepest into the wood. 
Next in order come water-stains, and lastly the turpentine 
and turpentine-wax stains. The latter, however, always 
stain merely the surface of the wood. The following general 
rules are to be observed for obtaining the deepest possible 
mordanting of the wood: 

1. The wood should be placed in a warm room several 
days before staining so that the pores will open and 
make possible a better penetration for the staining 
solution. 

2. With hard woods the staining liquids are generally 
to be applied hot, as they penetrate deeper than when 
cold. 

3. The stain should be applied with a well-saturated 
brush or sponge, so that the surface becomes quite 
wet. The liquid can then be left some time to pene- 
trate into the wood before the application of the 
softening brush for evening the stained surface. 



MORDANTING AND STAINING 1 9 

4. Resinous woods should be washed off before the 
staining or waxing with a solution of 50 grams of 
calcined soda (pulverized soda) in i liter of hot 
water; or very resinous woods with a soda acetone 
solution (for preparation and use, see pages 29-32). 
After the resin is removed the wood should be 
washed with warm water. 

Preserving the Natural Marking of the Wood 

An essential requirement of a good wood stain is that 
it shall preserve intact and intensify the natural marking 
characteristic of each kind of wood, whereby the layman 
may recognize its variety or species. To this single ca- 
pacity of the stain is to be ascribed its almost universal 
use to-day as a finish for wooden constructions of general 
artistic utility. 

Only a stain which has the property of being per- 
fectly soluble in water or other solvent, and which contains 
no small particles in suspension, can penetrate into the 
fine pores of the wood and stain it without leaving a deposit 
on the surface partly concealing the marking. 

For this reason all staining solutions which are not 
perfectly clear, or contain the slightest residue, should be 
filtered through cotton cloth before using, in order to 
remove all undissolved particles. These fine undissolved 
dyes or impurities settle in large-pored woods, such as oak, 
causing an unsightly punctured appearance, and cannot be 
removed, even with the most careful rubbing. 

For the same reason all staining solutions which have 
the property of settling after long standing or of segre- 
gating from their solvent, must be brought into solution 
again before using, by warming or boiling, and filtered 
again. 

The intensification of the texture and marking of the 
wood after staining is to be explained by the varying 
density and hardness of the wood itself. As already stated, 



20 MORDANTING AND STAINING 

in almost all woods there are hard and soft places. A 
greater quantity of liquid is absorbed by the soft parts, 
and after staining they appear darker than the hard parts, 
due to the latter's lesser absorption. 

This is especially characteristic of pine, fir and pitch- 
pine, in which the annual rings always appear lighter 
stained than the rest of the wood. 

If for any reason a decided intensification of the 
marking is not desired in these woods, the surface should 
be sponged off before staining with a solution of one part 
Arti-Equalizer, thinned with two to four parts hot water; 
rubbed after drying, and then stained. 

Another method of obtaining a partial balance in the 
intensity of the tone in woods of very diverse hardness and 
density, consists in mordanting such surfaces very wet and 
immediately taking off the superfluous solution with a well- 
squeezed sponge before it has time to penetrate far into 
the soft parts of the wood. Previous rubbing of evergreen 
woods with one part raw linseed oil and one part turpen- 
tine before staining does good service in balancing the hard 
and soft annual rings, as the linseed oil taken up by the 
soft parts of the wood prevents too great absorption of the 
staining solution. 

The glazing of wood with oil or water glazes (often 
falsely called stains by painters), has nothing in common 
with real wood-staining, as the glaze, which is an insoluble 
body-color, cannot penetrate nor even be rubbed into the 
wood, but rather is deposited on the surface, and so the 
marking of the wood never retains its original natural 
beauty. 

Spotless and Uniform Staining of Large 

Surfaces 

A well-stained wood does not need such a uniformity 
of tone as is required in monochrome cloth. But on the 
other hand, as has already been mentioned in the previous 



MORDANTING AND STAINING 21 

chapter, an intensification of the marking by contrasting 
its light or dark coloring with the uniform surface is very 
effective. However, light or dark spots caused by faulty 
application of the staining solution, by resinous places or 
by undissolved or secreted bits of dye, are unsightly and 
troublesome. Naturally it is much more difficult to stain 
a large surface uniformly than a small one. 

The wood itself is a very important factor toward the 
even application of stain. If it contains knots and sap- 
wood, uniform staining is practically impossible. Because 
of its porous character, sap-wood absorbs a large quantity 
of the staining solution, which causes it to assume a con- 
siderably darker appearance and often a different color 
from that of the dense heart which takes up much less of 
the staining fluid. Oak wood is an exception in that the 
darker heart is always darker than the lighter sap-wood. 
Of course the sap-wood proper is not meant, as this must 
always be cut out because of its great liability to become 
worm-eaten. Also, knots and other defects in the wood 
are not covered up by staining as they are when coated 
with body-color, and therefore show plainly. 

Irregularity of surface may be further caused by 
putting on the stain with a half-dry brush. The amount 
so applied is insufficient and too quickly absorbed by the 
wood, so that a subsequent balancing with the softening- 
brush is impracticable, as the strokes of the brush are then 
clearly visible. 

The wood should always be stained as wet as possible 
in order to insure uniformity of tone. 

The objection expressed by many cabinet-makers 
that this method tends to raise the grain more, is incor- 
rect; for experience has shown that with meager applica- 
tions of the staining solution the wood swells exactly as 
much as when it is applied very wet. When staining large 
areas, therefore, the following rules are strictly to be 
observed : 



22 MORDANTING AND STAINING 

1 . The brush used should always be well saturated with 
the staining solution, so that as much as can be 
absorbed is applied to all parts of the wood, and it 
is, to a certain extent, super-saturated. 

2. For large surfaces use a sponge or woolen cloth 
instead of a brush. Before applying the stain there- 
with, however, the sponge or cloth should itself be 
first immersed in the staining solution and well- 
squeezed, to thoroughly impregnate it with the 
color. Then saturate, and proceed as with brush. 

3. Every stained surface, after the application of the 
solution, must be wiped off uniformly with a well- 
squeezed sponge or well-wrung woolen cloth, in 
order to remove any possible irregularities in the 
distribution of the stain over the entire surface, and 
also the surplus stain. 

4. On very large surfaces where there is danger that the 
first-stained portion will partly dry before the 
softening-brush can be applied, both staining and 
softening must be done at the same time, — one 
workman applying the stain in liberal quantities 
while another softens it immediately, before the 
surface becomes dry. 

5. The so-called "lapping" of the color when apply- 
ing the staining solution until the brush is nearly 
dry (a method used by painters in applying body- 
color and all too often in staining wood), should be 
rejected absolutely, as every stroke of the brush is 
clearly visible on the stained surface, leaving a far 
from artistic effect. 

6. The temperature of the staining room should be as 
uniform as possible, neither too warm nor too cold. 

7. If several pieces of furniture are to be stained the 
same color, one man should do them all, for if several 
men are entrusted with the work and one man stains 
wetter than another, the furniture so stained will 
always come out lighter than that stained dryer. 



MORDANTING AND STAINING 23 

8. Before staining coniferous woods, wash them with a 
solution of one part Arti-EquaHzer and four parts 
hot water, by means of a sponge, and let dry; then 
sandpaper and proceed to stain. 

9. Coniferous woods may also be rubbed before stain- 
ing with a mixture of equal parts of raw linseed oil 
and turpentine. After the linseed oil has dried, 
sandpaper and stain. 

These preliminaries reduce to a minimum the raising 
of the grain on the surface when staining with water-stains. 

Uniform success in staining large surfaces, however, is 
entirely dependent on the chemical character of the stain 
used. We distinguish especially two groups of dyes which 
may be used for water-stains: (i) basic dyes and (2) 
acetous dyes. 

The basic dyes, which, up to a short while ago, were 
used almost entirely for wood-staining, especially in the 
manufacture of the liquid and solid water-stains ready for 
use commercially, are not only very slightly light-proof, 
but are fixed and retained very rapidly by the fibers of the 
wood; so that a subsequent balancing to obtain a uniform 
distribution of the stain is almost entirely illusory. Many 
mistakes made with water-stains unfortunately are to be 
ascribed to the use of these basic dyes for wood-staining. 
Because it was often impossible for the cleverest stainer to 
obtain a uniform surface with these water-stains composed 
of basic dyes, there formerly existed a general opinion that 
water-stains were unsuited for application to wood. 

The acetous dyes, in addition to being much more 
light-proof, have the great advantage of being fixed very 
slowly by the fibers of the wood. Hence they have suffi- 
cient time to penetrate very deeply into the pulp of the 
wood, and likewise any possible irregularities in the dis- 
tribution of the stain can easily be balanced by subsequent 
rubbing or wiping. 

Therefore it can be strictly maintained that the intro- 
duction and vitality of modern staining technics is in 



24 MORDANTING AND STAINING 

great measure due to a general use of the acetous group 
of dyes for manufacturing staining solutions. 

If experience shows that the uniform staining of any 
wood offers special difficulties, then a preparation of the 
surface before staining is mandatory. 



Preliminary Treatment of the Wood Before 

Staining 

If resinous woods, such as Carolina pine, fir and 
especially pitch-pine are to be stained, they must first be 
freed of the resin found in the outer layers of wood, by the 
method described on pages 29-32. 

But even with non-resinous woods a treatment with 
this process is very desirable in order to obtain perfectly- 
uniform staining. 

I. Preliminary Treatment with Linseed Oil 

Rub the surface to be stained with a mixture of equal 
parts of linseed oil and turpentine, preferably with a 
woolen cloth. Make circular motions (as in polishing) 
and leave the wood twelve to twenty-fours hours to dry. 

The oiled surface should then be thoroughly sand- 
papered, after which the staining solution can be applied 
at once with the precautionary measures indicated. 

This preparation of the surface of the wood with lin- 
seed oil has still another collateral effect. The penetration 
of the oil prevents warping of the fibers and pores when 
the wood is stained, so that an after-polish with horse- 
hair or a piece of felt is sufficient to obtain an absolutely 
smooth surface. If the wood is to be stained in very 
delicate or bright colors only decolorized linseed should 
be used when oiling. 



MORDANTING AND STAINING 25 

II. Moistening with Water the Surface to be 

Stained 

Moistening the surfaces to be stained with quantities 
of water is done principally when staining coniferous 
woods, such as fir, pine, Carolina pine, pitch-pine and oak; 
first, because this renders a slower and more uniform ab- 
sorption of the staining solutions later applied, and second- 
ly, it diminishes the all too conspicuous difference in the 
intensity of tone between the hard and soft parts of a 
single surface. Saturate the entire surface with a thorough- 
ly wet sponge, let the water soak into the wood for a few 
minutes, and then stain immediately with water-stain. 

With oak, this washing with water has an additional 
advantage in that the subsequent application of stain has 
less tendency to raise the grain. When washed well with 
warm water the glue, which has penetrated through the 
veneer, is almost entirely removed, thus eliminating the 
possibility of unsightly glue-spots. 

III. Preliminary Treatment of the Wood with 

Arti-Equalizer 

The best treatment of the wood, as denoted in I and 
II above, is given with Arti-Equalizer. 

It is a fact known to every specialist that soft woods, 
especially coniferous woods (fir, pine, Carolina pine and 
pitch-pine), are considerably more difficult to stain than 
hard woods, and sometimes even an expert may not be 
successful in obtaining the desired uniformity of surface. 
To overcome this condition a preliminary treatment of 
the wood with Arti-Equalizer before polishing and staining 
will be found sufficient. It is particularly advisable also 
to employ this method with woods that have been pre- 
viously oiled for any reason, as oiled surfaces (especially 
if the oil was not applied smoothly and the linseed has 
become hardened by long exposure to the air) do not take 



26 MORDANTING AND STAINING 

the stain uniformly, and obviously prevent its deep pen- 
etration into the wood. 

The method of applying the Arti-Equalizer is as 
follows : 

Dilute one liter of Arti-Equalizer with four liters of 
hot water and thoroughly wash the surface to be stained 
with a sponge; let the wood dry completely, rub the 
surfaces perfectly even with sandpaper or pumice-stone 
and then stain with water or turpentine stains in the 
usual manner. 

This preliminary treatment with Arti-Equalizer ob- 
tains results as follows: 

1. The grain may be raised slightly, but if, when the 
pores and fibers of the wood swell, they are rubbed 
well without exerting much pressure and without 
depressing them completely, this condition will not 
be present when the staining is completed. 

2. When coniferous woods have this treatment the 
alternating light and dark coloring of the annual 
rings does not show so conspicuously. 

3. The spongy, felt-like portions of fir and pine wood, 
which show their dark coloring in the form of ugly 
spots when the wood is not previously treated, take 
the stain after treatment almost as evenly as the 
other parts. 

4. Preliminary treatment of coniferous woods with 
Arti-Equalizer effects a removal of the surface resin, 
so that woods not having an excess of resin, such as 
fir and pine, do not require a separate process for 
its elimination. 

This method of preliminary treatment can be used 

with equally favorable results for hard woods. 

Note: The preliminary treatment of the wood with Arti-Equal- 
izer can only be used in those cases in which actual dyes, such as 
acetous aniline or Olesole dyes are used. If chemicals, such as sodium 
chromate, green vitriol, pyrolignite of iron, potassium permanganate, 
protochloride of copper Z, or the various oxidine stains recommended 
for the manufacture of water and light-fast stains are used, then treat- 
ment with the Arti-Equalizer is not admissible. 



MORDANTING AND STAINING 27 

IV. Preliminary Treatment of Coniferous Woods 

WITH Benzoic Solutions Before Staining 

Preliminary treatment with a spirituous solution of 
benzoin has a very good effect in obtaining a uniform 
staining of coniferous woods. A strong benzoin solution 
is made by dissolving ordinary benzoin in high per cent, 
denatured alcohol. 

Add enough denatured alcohol so that the bubbles 
will remain at the top after the solution has been thorough- 
ly shaken in a bottle, and let stand ten seconds. If the 
bubbles disappear in less than ten seconds the solution is 
too weak, and more of the concentrated benzoin solution 
must be added. If the bubbles last ten seconds after 
shaking, then the solution is ready for use. Wash off the 
coniferous wood with a sponge soaked in this solution, let 
the surface dry, sandpaper and stain in the usual manner 
with water-stains. 

When coniferous woods are prepared in this way not 
only are uniform tones of color obtained, but also the hard 
annual rings are less conspicuous by their light coloring, 
and the grain is raised less after staining. 

V. Preliminary Treatment of Oak with Solution 

OF Sodium Chloride 

In the deep pores of oak and also of ash there are 
found air bubbles which render exceedingly difficult the 
penetration of the stain and often prevent it entirely. 

If oak with very deep and small pores is stained with 
dyes, whether water, turpentine or alcohol stains, these 
solutions cannot penetrate the air-filled pores in spite of 
strong rubbing, and after the surface has dried the pores 
appear unstained. 

To prevent this often very troublesome evil, the fol- 
lowing preliminary treatment of oak surfaces has proved 
excellent : 



28 MORDANTING AND STAINING 

Rub the rough oak surfaces with the hottest possible 
solution of I GO grams sodium chloride (common salt) in 
I liter of water, applying with a thoroughly saturated 
sponge; let this dry twelve hours, sandpaper the sur- 
face and stain with water-stain in the usual manner. 
The dye now penetrates better into the pores, and as the 
grain is raised very little by the water-stain, slight rubbing 
is sufficient to obtain a perfectly smooth surface. On oak 
which has been prepared in this manner the color of the 
stain is clear and strongly defined. 

Any salt remaining in the wood has absolutely no bad 
influence on the dye nor on subsequent matting. The 
treatment of oak with salt is a perfect substitute for the 
so-called watering, and the latter can hence be omitted if 
the surfaces have this treatment. 

Note: If Oxidine stains or Antique-Oak stains, Special Oak 
stains, Anthracene stains or stains made only of chemicals (no dyes) 
are used for staining oak and ash, then the treatment with salt is not 
required, as these stains are so strong that they can penetrate even into 
the pores filled with air-bubbles. (For method of supplementary 
staining pores left white when staining oak furniture, etc., see chapter 
entitled "Process for Subsequent Covering of Unstained Pores of 
Stained Oak.") 

Staining Cross-Grained Wood 

The staining of cross-grained surfaces offers many 
difficulties. Cross-grained wood absorbs every staining 
solution greedily and in large quantities in the direction of 
the fiber, because of capillary attraction; and hence, even 
when staining with relatively weak solutions, the tone is 
quite dark and often almost black. 

For this reason cross-grained surfaces are not stained 
simultaneously with, nor in the same manner, as wood cut 
with the grain; but are always handled separately and 
usually receive preliminary treatment. This treatment 
consists of depositing an insoluble substance, or a substance 
difficult of solution, in the fibers of the cross-grain; this 



MORDANTING AND STAINING 29 

prevents the strong absorption of the staining solution. 

Such substances are: thin solutions of glue or much- 
thinned shellac. 

Paint the previously-polished surface of the cross- 
grained wood with one of these solutions, let it dry, sand- 
paper again, and then proceed to stain. These solutions 
must, however, be used very thin; otherwise the wood 
prepared in this way may be unfitted for the subsequent 
application of stain. 

It is furthermore desirable to dilute the staining so- 
lution that the color may not come out too dark. Usually 
the stains used on wood cut with the grain should be 
thinned to one-third to one-fifth of their original strength 
for use on cross-grain surfaces. 

Another way to prevent too dark staining of cross- 
grain surfaces and carved work is to wipe them off with a 
well-squeezed sponge or woolen cloth immediately after 
the staining solution has been applied, so that the stain 
still on the surface is removed before it can be absorbed by 
the fibers of the wood. 

Removal of Surface Resin from Resinous Woods 
Before Staining 

Fir, pine, Carolina pine and especially pitch-pine, 
largely used by carpenters and cabinet-makers, always 
contain a greater or lesser quantity of resin, whose presence 
can be recognized by the odor and the greasy touch pe- 
culiar to these kinds of wood. 

The presence of this resin renders exceedingly difficult 
the staining of the woods mentioned above, as its greasy, 
water-repelling qualities have a very detrimental effect on 
the penetration of the staining solution into the pulp. 

This repellency becomes a veritable calamity if the 
resin is very unevenly distributed in the wood and there 
are especially resinous places in it. The staining solutions 
applied are more or less strongly absorbed by different parts 



30 MORDANTING AND STAINING 

of the wood, according to the greater or lesser amount 
of resin present. 

Even when the stained surface is wet it inspires little 
confidence, and after it has dried, light and dark spots 
show in turn, which does not tend to exert an artistic 
effect on the beholder. 

There are often observed accumulations of resin in the 
surface of the wood which absolutely prevent the ab- 
sorption of any stain in these places. 

Every time such a resinous spot is gone over with a 
brush or sponge full of staining fluid, the solution runs off 
into the wood surrounding the resinous spot, and the wood 
shows in this place with its own natural color. 

Because of less expensive grading, the resinous woods 
above-mentioned are employed to a considerable extent 
in interior finish, and to a certain degree in the manufacture 
of low-priced furniture; and as modern choice favors 
stained wood because of its very apparent retention of 
natural beauty and marking, it is imperative that this 
undesirable secondary element be eliminated in so far as 
is possible. 

All methods of removing the resin from roughly- 
worked furniture and other woodwork can naturally only 
result in removing it from the upper layers of the wood, as 
a removal from the interior would seem absolutely im- 
possible for technical reasons. Still, an attempt should be 
made to remove the resin from the outside of the wood up 
to the depth to which staining solutions may penetrate, 
viz., 3^ to I mm. 

A practical method of doing this is based on the 
capacity of a solution of soda to reduce the resin to a resin- 
soap, soluble in water. 

Method I 

Dissolve fifty grams of calcined soda (pulverized 
soda) in one liter of hot water. Rub hard on the surface of 
the wood with this solution, using a sponge or a brush; then 



MORDANTING AND STAINING 3 1 

wash off with clear water, preferably warm, in order to 
remove the resin-soap and soda still remaining in the wood. 

A more intense and quicker method of removing the 
resin is achieved by the simultaneous use of an energetic 
solvent which is added to the soda solution. 

Such a solvent for resin, working intensively even at 
ordinary temperature, is acetone, a hydrocarbide, used 
in trade as a clear, translucent liquid. 

Acetone, unlike benzol, benzine, etc., has the property 
of mixing to a certain degree with water and the above 
soda solution without isolating itself; and for removing 
resin is far superior to all other hydrocarbides, as well as 
volatile oils, e. g., turpentine and the alcohols. Its pe- 
culiar odor, similar to that of benzine, does not inhere in 
the wood, as acetone, like very volatile substances, evap- 
orates in a brief while. 

The effect of acetone mixed with the above soda 
solution is twofold: 

1. It dissolves the resin in the outer layers of the wood. 
This resin is partly washed off directly in this dis- 
solved state, and partly by the presence of the soda 
is converted quickly and easily into resin-soap 
soluble in water, as may be the case when the soda 
solution has to react on resin still hard; for every 
chemical reaction (and such is the conversion of the 
resin into soap) proceeds more energetically and 
rapidly if both of the reacting substances are in 
dissolution. 

2. The acetone penetrates much deeper and more 
rapidly into the pulp of the wood than a simpler soda 
solution, thus causing a deeper removal of the resin. 
Following is another method: 

Method II for Very Resinous Wood 

Dissolve 50 grams calcined soda (pulverized soda) in 
I liter of hot water. Let the solution cool, and mix im- 
mediately before use with 34 liter of acetone. 



32 MORDANTING AND STAINING 

Wash the surface vigorously with this preparation 
by means of a sponge, and the resin-soap and soda left in 
the wood may be removed by washing with clear warm 
water. When dry, sandpaper and stain. 

The given ratio of soda to acetone must be strictly 
maintained. For thorough removal it is absolutely neces- 
sary that the surface be rubbed hard and continuously 
with a sponge saturated with either Solution I or II. 

As may be seen, these methods remove the greater 
part of the resin at or near the surface of the wood ; but at 
the same time the resin still remaining, which was not 
converted into a resin-soap soluble in water nor dissolved 
by the acetone, will be quite regularly distributed over the 
entire surface; so that conditions are very favorable for a 
uniform absorption of the staining solution. 

Note: Pure acetone is a very inflammable volatile substance and 
should therefore be kept only in well-closed receptacles. When pouring 
out or handling this liquid, no open flame should be allowed near. 

The ratio of i liter 5% solution of soda to ^ liter acetone must 
be strictly followed, as these two liquids do not remain permanently 
mixed in other ratios. 

Acetone should only be mixed with solution of soda when it has 
cooled. 

The ratio of i liter 5% solution of soda to }/i liter 
acetone must be strictly followed, as these two liquids do 
not remain permanently mixed in other ratios. 

Acetone should only be mixed with solution of soda 
when it has cooled. 

Preliminary Treatment of Wood Already Oiled 
Before Staining 

In new buildings the mouldings and doors are often 
oiled before being put into place, or immediately thereafter. 

This oiling is to prevent too much absorption of 
moisture by the wood from the fresh plaster, and so putting 
a check, to a certain extent, upon warping. Furthermore, 
the oiling offers a certain protection against the dark 



MORDANTING AND STAINING 33 

brown spots so easily caused by lime, mortar and cement, 
especially on oak wood. 

If these oiled doors and wooden mouldings are sand- 
papered and stained immediately after oiling, as a rule 
there is no special difficulty. 

But if the linseed oil has hardened through long ex- 
posure to the air, the layer of resin forming on the surface 
offers great resistance to the penetration of staining so- 
lutions, and stains very easily become spotted and irregular. 

In this case also it is necessary to saponify the linseed 
oil on the surface of the wood by energetic washing with a 
solution of 50 grams of pulverized soda (calcined soda) 
as hot as possible, and to wash off the resulting resin-soap, 
soluble in water, with warm water exactly as was described 
in Method I, "Removal of Surface Resin from Resinous 
Woods Before Staining." When dry, sandpaper. 

Note: Care must be used, when washing with warm water, sur- 
faces treated with the soda solution, to remove all the soda left in the 
wood, as this may eventually destroy subsequently-applied mordants, 
or change their shades, resulting in the formation of discolored spots 
in the stained surface. 

Simple Method of Using a Wood Stain and 
Certainty of Its Result 

Such stains are naturally preferred as give the desired 
coloring to the wood with only one application. More 
than two applications, with one or two different staining 
solutions, is, in most instances, quite impracticable, be- 
cause the assurance of the ultimate success is endangered 
so much the more as different stains, and several applica- 
tions thereof, are required to obtain a certain color. 

Therefore, ready-prepared dyes, especially acetous 
aniline dyes, as well as the Special-Oak stains and Anthra- 
cene stains, are generally preferred to the above-described 
wood-stains, as they produce dyes in the wood itself by 
the reaction of two different chemicals. Stains produced 



34 MORDANTING AND STAINING 

in this way, when appHed to certain kinds of wood, usually 
create shades of color very different from each other; and 
even when used on one and the same kind of wood, the 
color obtained is seldom of equal intensity and shade. 

Thus, there are difficulties in the way of successful 
results with staining by use of chemicals, and such staining 
requires that the most painstaking care and accuracy be 
observed in the preparation of the solutions, as well as in 
their working. Furthermore, though staining with two 
different chemicals generally requires one or two days for 
absolute development of the tone, and also increased work, 
the fastness to light of the color obtained is scarcely any 
greater than with the present light-proof water-stains, — 
acetous aniline dyes, Special-Oak stains and Anthracene 
stains. The use of chemicals is to be recommended only 
for a special requirement, e. g., that of being water-proof; 
or when special effects are to be obtained. (Fumed stains, 
Oxidine stains, etc.) 

It is further recommended that experiments be first 
made on small pieces of the same wood before staining, in 
order to be certain of obtaining the exact color desired or 
prescribed; and if necessary to dilute the stain with water, 
turpentine or alcohol, according to its nature, until it is of 
the desired proportions for use. 

General Rules for Staining Wood 

For staining wood, not only is a knowledge of the man- 
ufacture and use of the various staining solutions necessary, 
but a rational application of the stain requires also a certain 
knowledge of the different kinds of wood with regard to 
their relation to the individual stains; for very diverse 
effects are often obtained with one and the same stain, — a 
condition based upon the widely-varying chemical com- 
positions of wood. A very important factor is the presence 
of tannin, in great or lesser quantities, which has a chemical 



MORDANTING AND STAINING 35 

reaction on many stains, and with these produces vari- 
ously-colored lacs in the fibers of the wood. 
Two examples may explain this: 

1. If fir or pine, which do not contain much tannin, are 
stained with a solution of 50 grams of potassium 
chromate in i liter of water, the wood assumes 
merely a light yellow color, corresponding to the 
color of the potassium chromate, and this, by the 
way, has absolutely no fastness to light, and is 
therefore worthless. 

But if oak wood, which is very rich in tannin, is 
stained with the same solution, it will immediately 
assume a beautiful yellowish brown color, which also 
offers great resistance to light and air ; for the tannin 
in the oak combines with the potassium chromate 
which has penetrated into the wood and makes a 
brown dye, which settles between the cells of the 
wood. 

The same is true in staining mahogany and walnut 
with potassium chromate, as these woods also con- 
tain a considerable quantity of tannin. 

2. If fir or pine is stained with a solution of 20 grams 
of green vitriol in i liter of water, scarcely any 
staining will take place. 

But, on the other hand, if ash is stained with the 

same solution, a beautiful medium gray is obtained, 

and when applied to oak, a strong bluish-gray 

appears. This effect is also to be attributed to a 

combination of the green vitriol with the tannin of 

the wood, and the more tannin in the wood the 

darker the resulting stain. 

The amount of tannin in the wood is of especially 

great influence on the shade and depth of the tone obtained 

by staining with all stains which contain metallic salts as 

effective elements, as is the case with Antique-Oak stains 

and all Oxidine stains. On woods rich in tannin this stain 

not only produces a darker and richer tone than on woods 



36 MORDANTING AND STAINING 

with a medium or small amount, but the resulting tones 
on woods with diverse amounts of tannin generally differ 
considerably from each other. 

Also the varying density or hardness of each kind of 
wood has a great influence on the result of the staining. 
In a soft wood, the staining liquid not only penetrates 
deeper, but also more of it is absorbed than by a hard, 
dense wood. Hence in the first case, with one and the same 
staining solution, a considerably stronger and richer stain 
is obtained than in the latter case. 

Therefore, for a certain designated tone, a weak stain- 
ing solution should always be chosen for soft woods, and a 
correspondingly stronger solution for hard woods. 

But even in staining the same kind of wood, one 
should not count on an entirely similar result of staining 
with one and the same staining formula, or with the same 
solution. 

The amount of resin and sap present at the time of the 
felling of the wood will often offer a very diverse resis' ance 
to the penetration of the staining solution, so that the 
result may be lighter one time and darker the next. 

A clever stainer can offset these generally slight 
differences in the depth of the tone while he is staining, 
either by going over the harder parts again immediately or 
by letting the stains remain longer before he softens them 
and removes the surplus. Slight corrections can be easily 
made by wiping off the darker spots immediately with a 
well-squeezed sponge or woolen cloth. 

The amount of tannin in wood is not always the same 
throughout. It is dependent on the age of the wood as 
well as on the climatic conditions of its place of origin. For 
example, Hungarian oak always has more tannin than the 
German, and the American oak less. 

Therefore, this difference in the amount of tannin is of 
considerable importance if the tannin of the wood is to 
produce a dye in the fibers of the wood, as is the case in the. 



MORDANTING AND STAINING 37 

fuming of oak, gray-staining with green vitriol or iron 
mordant, staining with Antique-Oak stains, etc. 

On the other hand, when staining woods with acetous 
aniHne dyes the amount of tannin plays no part whatever. 

The ground-color is often very different in the same 
kind of wood and causes a very considerable difference in 
the tone finally obtained, especially in light and delicate 
colors. 

So there is scarcely any difficulty in getting light and 
delicate tones, such as blue-gray or silver-gray, on woods 
with a light natural color, such as maple and willow; 
whereas it is often very difficult and many times even 
impossible to get the same delicate tones on oak, which is 
colored considerably darker by nature, or on Carolina 
pine, which has a very yellow ground-color. 

On account of these varying reactions, not only of 
different kinds of wood, but even of the same kind of wood, 
it is almost impossible to be sure immediately of getting 
the exact tone desired. 

It is advisable to determine accurately beforehand, 
with staining experiments on a small board, prepared the 
same as the article to be stained, in what strength and 
composition a staining solution must be applied in order 
to be sure of obtaining a certain previously-prescribed tone. 

If the prepared stock solutions described on pages 40- 
42areused, the attainment of a certain tone offers no diffi- 
culties and causes no great loss of time. 

The tone obtained by staining cannot always be 
determined immediately after applying the stain, espe- 
cially if it is one which gradually develops through the 
influence of the air, or one that is slowly generated in the 
fibers of the wood. In these instances the effect of a stain 
cannot be determined for a day or two. 

Stained wood must always be allowed to dry a day 
or two in ordinary temperature before being treated with 
a coat of varnish, shellac or wax. 



38 MORDANTING AND STAINING 

If the wood is still damp, this would effect the varnish 
or shellac, which would soon become dull and show white 
spots which are hard to remove. 

If two or more staining solutions are to be applied in 
succession, the succeeding solutions should not be used 
until the preceding one is dry, requiring an interval of six 
to twelve hours. 

Not all dyes which are available and recommended 
for wood-staining can be used and mixed simultaneously. 
This is always to be taken into consideration in using 
aniline dyes. 

In particular, dyes of the basic group should never be 
mixed with those of the acetous group. 

The dyes of these two great groups act toward each 
other like two hostile brothers. 

If an acetous solution is mixed with a solution of a 
basic dye, both dyes in common are precipitated, the 
solution becomes turbid, fine sediments are formed, and 
often also resinous secretions. 

Such a staining solution is absolutely useless. It 
cannot penetrate into the wood and would make an un- 
sightly, spotted stain, not light-proof. Great care should 
therefore be taken in the manufacture of staining solutions 
to keep them continually clear. It is a good plan, before 
mixing solutions of various aniline dyes whose acetous or 
basic character is not exactly known, to make a preliminary 
test in a goblet and to observe the solution after it has stood 
awhile. If the originally clear solution is turbid and 
opaque, it is a sign that a secretion of dye has taken place. 

For the same reason it is not permissible to mix acetous 
and basic dyes in the dry state (pulverized), as when dis- 
solving such a mixture, there is the same undesirable 
precipitation with all its disagreeable results. The aniline 
dyes recommended in this book for the manufacture of 
water-stains all belong to the acetous group, and hence can 
be mixed with each other at will. On the other hand, all 



MORDANTING AND STAINING 39 

dyes which are given for the manufacture of alcohol stains 
and turpentine stains are of a basic nature. 

Many stains have the property of assuming a bronze 
shimmer when the surface of the stained wood dries, that 
is, it presents a yellowish, greenish or copper-colored 
metallic luster. 

This occurs especially with dark, somber stains, but 
seldom with light and medium stains. 

The bronze tone disappears, however, immediately 
after the stained surface has been treated with a coat of 
shellac, varnish or wax. 

Hence an approximate estimate of the color resulting 
from the stain, based on the appearance of the wood when 
still wet, is not always conclusive. 

The Dissolving of Dyes and Chemicals 

The solution of all materials for the manufacture of 
stains must be prepared with the utmost regard for the 
cleanliness of receptacles. 

The most important solvent for all chemicals and 
dyes is water. Ordinary well or city water generally con- 
tains considerable quantities of lime and magnesium, and 
often iron salts, which partly precipitate the dyes and 
chemicals. These dissolved salts segregate for the most 
part, after long boiling, and adhere to the sides of the 
receptacle as boiler-scale. 

Hence, for dissolving dyes and chemicals, either con- 
densed water from steam pipes or else previously scalded 
water only, should be used. 

Not all dyes and chemicals are equally well and 
quickly soluble in the various solvents (water, alcohol and 
turpentine). 

The dissolution of all dyes and chemicals, however, 
can be hastened by: 

1. Use of a hot solution, either by warming or boiling. 

2. Good shaking or stirring during the dissolving, and 



40 MORDANTING AND STAINING 

3. Previous pulverization of the substances to be dis- 
solved, if they come in the shape of pieces or crystals. 

Only a certain amount of each substance can be dis- 
solved in the boiling solvent. 

As a general rule much larger quantities of a substance 
are soluble in a boiling solvent than in the same solvent at 
ordinary temperature. Hence, it follows that when the 
solvent cools a corresponding amount of the dissolved sub- 
stance will segregate, and finally only so much remains in 
solution as can be dissolved by the solvent when cold. 

Hence solutions which cool off while being used or 
which have to be kept for later use, should contain no 
more of a dissolved substance than it can hold in solution 
at ordinary temperature. 

All solutions of dyes and chemicals which are not per- 
fectly clear must be filtered before use, in order to wholly 
remove any undissolved particles. 

The dissolving of all dyes and chemicals should be 
done in glazed or enamelled receptacles which can be 
easily cleansed and have no injurious effect on the chemical 
substances. 

Simplified Method for Manufacture of Staining 
Solutions Ready for Use. (Stock Solutions) 

Stains in all colorings can be simply and quickly 
prepared from the stock solutions of the various dyes. 

To make stock solutions: Dissolve 50 grams of each 
dye in i liter of boiling water ; stir constantly, filter through 
a fine-meshed cotton cloth, and keep in closed glass or 
earthen jars. 

These stock solutions may be kept indefinitely, and no 
segregation of the particles takes place if water free of 
lime is used for dissolving the dye. 

Water of this nature can easily be obtained in any 
place where there is steam power or steam heat, by insert- 
ing a large water-separator (condensing-plug) at the 



MORDANTING AND STAINING 



41 



lowest part of the pipes as far as possible from the boiler. 
The amount of water accumulating in this is sufficient for 
dissolving all dyes and chemicals. If this procedure is 
impossible, use rain-water or water which has been boiled 
a long time. 

With the aid of a glass liter 
measure (Fig. i) with i-io liter 
gradations and a glass measuring 
tube (Fig. 2) with cubic centimeter 
gradations and a capacity of 100 
cu. cm. (i-io liter), any desired 
quantity of stock solution can be 
measured off quickly and accurate- 
ly, and by mixing two or three 
corresponding stock solutions, ev- 
ery staining solution can be made 
at will. 

If the stains made from stock solutions prove to be 
too strong for medium and light colors, they can be diluted 
with water. A filtering is therefore no longer required. 

Note: On cold winter days, if there should be any secretion of dye, 
in individual stock-solutions, such as Crocein Scarlet, Pyrotine Red, Ma- 
hogany Brown "D" and Walnut-Brown "R," pour the solution into an 
enamelled dish and heat it. This will render it clear and ready for use. 

Each stock solution contains: 
per liter (1000 cu. cm.) 50 grams dissolved dye 





Fig. 1 



Fig. 2 



2 



1 
1 



( 500 
( 250 
( 100 
( 20 



25 

12.5 '' 

5 " 
I gram 



In making the various stains with stock solutions it 
should be remembered that every 20 cu. cm. of stock 
solution contains i gram of solid dye in solution. 

Therefore if 2, 5, 10, 20, 30, 40 or 50 grams of solid 
dye are to be used, then 2 X 20, 5 X 20, 10 X 20, 20 X 20, 
30 X 20, 40 X 20 or 50 X 20 = 40 cu. cm., 100 cu. cm., 



42 MORDANTING AND STAINING 

200 cu. cm., 400 cu. cm., 600 cu. cm., 800 cu. cm., or 1000 
cu. cm. of the stock solution is to be measured off. 

Two examples may explain the use of the stock 
solution : 

No. I. A. Formulas FOR A POWERFUL Olive-green, 
WITH Weight of Materials 

35 grams New True-Green, 
8 " New Yellow, and 

7 " Nigrosine. Dissolve in i liter boiling water; when cool, 
filter, and the staining solution is ready for use. 

B. Manufacture of the same Staining Solution 
(with Stock Solutions) 

700 cu. cm. New True-Green (stock solution), 
160 " " New Yellow (stock solution), and 
140 " " Nigrosine (stock solution), are mixed together. 



1000 cu. cm. = I 1 iter staining solution ready for use. 

No. 2. A. Formula for a medium Stone-gray, 
WITH Weight of Materials 

8.5 grams Nigrosine, 

0.5 " True- Yellow "G," 

I. o gram New True-Green. Dissolve in i liter boiling water; 

when cool, filter, and the staining solution is ready for 

use. 

B. Manufacture of the same Staining Solution 
(with Stock Solutions) 

170 cu. cm. Nigrosine (stock solution), 

10" " True-Yellow "G," (stock solution), 

20 " " New True-Green, (stock solution) and diluted with 

800 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

In this way any staining solution can easily be pre- 
pared in five minutes, and requires neither boiling water 
nor exact balance scales or nest of small weights. 



MORDANTING AND STAINING 



43 



The following aniline dyes of the acetous group are 
the chief ones used in the manufacture of stock solutions: 



1 . Nigrosine, soluble in water 

2. " T, " " " 

3. " G, 

4. Induline W, " " " 

5. Azine Blue, " " " 

6. IndolBlue 

7. New True Green 

8. Indol Blue Green 

9. True Yellow G 

10. New Yellow 

11. New Orange 

12. Persio Red 

13. New Red 



All these dyes be- 
longing to the same 
acetous group can be 
mixed in any ratio 
to obtain the various 
intermediary shades 
desired. 



/ 



Likewise all the following Brown water-stains, which 
also belong to the acetou^ group, can be prepared in stock- 
solutions: 



14. Walnut "R," soluble in water 

J ^ << ti r^ It << (< ti 

16. Mahogany Brown "H," soluble in water 
(light mahogany) 



\ 



17. Mahogany Brown 


"D," soluble 


in water 


All these 


(dark mahogany) 


stains can 


18. Rosewood Brown, 


soluble in water 


b e mixed 


19. New Brown "A" 










with each 


20. " " "B" 








' 1 other at 


21. " " "C" 








' / will, and 


22. " " "D" 










also with 


23. " " "E" 










those 


24. " Gray-Brown 


upn , 








numbered 


25. " 


"G" 








1-16. 


26. " Olive-Brown 


"H" ' 










27. " Brown 


UJM , 










28. Oak Stain 


"H" • 






/ 





44 MORDANTING AND STAINING 

On the other hand, a mixture of water-stains with 
alcohol or turpentine-stains is not admissible, as the two 
latter belong to the basic group of dyes. 

Note: This simplified method of staining solutions ready for use 
with previously prepared stock solutions has always worked very 
satisfactorily in actual practice. 

For the formulas in this book for making brown, gray, green, 
olive, red, yellow, orange, blue and violet water-stains, the weights of 
the dyes and the quantities of stock solutions used are given in cu. cm. 
per I liter staining solution. 



Low Cost of Manufacturing the Staining 
Solutions 

The home preparation of the various staining solu- 
tions, according to the simple methods given in this book, 
has the following advantages: 

1. The user of wood stains knows in each individual 
instance exactly what dyes or chemicals his stains 
contain, hence his assurance in working is much 
enhanced. 

2. Home preparation offers a guarantee of the always 
invariable compositions of the stains, their proper- 
ties and degree of purity. 

3. The knowledge of the composition of the individual 
staining solutions and their properties makes it 
possible for the user to decide himself in most 
instances which of the stains given in this book he 
will have to employ to produce a certain effect. 

4. The low prices at the present time, of dyes and 
chemicals necessary for the manufacture of the 
various staining solutions, afford such considerable 
pecuniary advantage over the use of the prepared 
staining solutions of commerce that every regular 
consumer of wood-stains should make his own, if 
only for purely economical reasons. 



MORDANTING AND STAINING 45 

The manufacture of all the wood-stains described in 
this book is exceedingly simple and requires no knowledge 
of chemicals or other practical instruction. 

Water-stains are naturally the cheapest, as the only 
expense is for the necessary chemicals and dyes. 

None of the water-stains described will exceed 20c 
per liter, and most of them can be made for much less. 

As I liter of water-stain will stain 7-8 square meters 
of wood, according to its greater or lesser density, the cost 
of the staining materials can be practically ignored. 

With turpentine stains the expense is considerably 
more, as the cost of the solvent has to be added. 

Alcohol-stains cost about the same, owing to the rela- 
tively high price of high per cent, alcohol, even of de- 
natured, but especially on account of the much greater 
consumption of an alcohol-stain per square meter of wood, 
due to its very energetic penetration into the pulp of the 
wood. 

Preservation of Dyes, Chemicals and Staining 

Solutions 

All dyes, whether coal-tar or vegetable, and all chem- 
icals, should be kept in well-closed receptacles in dry, but 
not too warm, places, for many dyes have the property of 
being hygroscopic and then caking together in lumps 
which are hard to dissolve; or else they dissolve into a 
thick mass. 

If kept in hot places, aniline dyes and also vegetable 
dyes cake into a compact mass, rendering them difficult 
to remove from the receptacle and hard to dissolve. 

The chemicals for wood-staining must also be kept 
absolutely closed and in a dry place, because they are apt 
to absorb the oxygen from the air, which changes and 
renders them of slight or absolutely no use. 

All staining solutions cannot be preserved a long 
time. Some must be prepared fresh every day, but those 



46 MORDANTING AND STAINING 

which will keep should be placed within tightly-closed 
glass or earthen jars, as metal receptacles are unfit for the 
purpose. 

If there are insoluble secretions in a liquid after 
standing a long time, it should be reheated or boiled and 
filtered again before use. 

When mentioning the individual wood-stains, their 
greater or lesser durability in this direction will always be 
given prominence. 

A. Water-Stains 

Water-stains are solutions or decoctions of natural or 
artificial dyes, and of chemicals in water. 

The group of water-stains contains the most light- 
proof representations among wood-stains. This does not 
mean that all water-stains must be light-proof, for, un- 
fortunately, there are many water-stains used in com- 
merce whose capacity for resisting light is of very modest 
dimensions. 

With the dyes and chemicals now available, we can 
manufacture water-stains which fulfil perfectly all rea- 
sonable requirements in fastness to light and air; whereas 
with alcohol, turpentine and wax stains, the dyes adaptable 
to their manufacture do not possess these resistant quali- 
ties. 

The objection formerly voiced against water-stains, 
that they rendered an irregular and spotted surface, is not 
admissible nor authentic now, for this fault concerns only 
wood-stains manufactured from basic dyes, which are 
fixed too rapidly by the fibers of the wood, so that the 
subsequent balancing or softening process does not give a 
uniform distribution of the stain over the entire surface. 

The acetous aniline dyes universally recommended in 
this book for the manufacture of water-stains are fixed by 
the fibers of the wood almost as slowly as the excellent 
turpentine stains, so that every irregularity due to the 



MORDANTING AND STAINING 47 

application of the staining solution can be completely 
removed by subsequent use of the softening brush, sponge 
or woolen cloth on the still wet surface. 

The only disadvantage of water-stains is their proper- 
ty of more or less raising the grain of the wood, so that a 
supplementary rubbing with sandpaper, horsehair or hard 
felt is required. For this reason some cabinet-makers and 
painters prefer turpentine and wax stains, which raise the 
grain scarcely at all, and therefore do not require as much 
after polish. 

However, the possessors of articles stained with tur- 
pentine and wax stains are greatly disillusioned when they 
perceive how rapidly the colors which were so beautiful at 
first fade or change completely. 

This disadvantage of water-stains in raising the grain 
of the wood can be restricted to a minimum if the surfaces 
to be stained are thoroughly saturated with water and well 
sandpapered without pressure or scouring; and also by 
employing the preliminary treatment for surfaces (linseed 
oil, Arti-Equalizer, benzoin solution, or common salt 
solution) described on pages 24-28. 

Only those water-stains will be described here whose 
durable qualities satisfy strict requirements and which 
have been proven through practical use and repeated 
exposure to the sunlight. 

Brown Stains 

Brown stains, with their many variations, occupy the 
most important position to-day in wood-staining, after the 
gradual liberation from bright colors, such as green, olive 
and blue. 

They are used: 

I. To imitate the naturally colored, precious and high- 
priced woods (foreign), such as mahogany, walnut, 
rosewood, etc., that is, to give our domestic uncolored 



48 MORDANTING AND STAINING 

and cheap woods the appearance of these precious 
woods by means of staining. 

2. To give young, light-colored oak the appearance of 
old, dark-colored oak. 

3. To obtain the gray-brown, smoke-brown, dark and 
black-brown tones of recent favor for domestic 
woods. 

4. To enliven and intensify the natural coloring of 
precious woods, such as mahogany, walnut, rose- 
wood, etc. 

Antique Oak Imitations 

All woods rich in tannin possess the property of as- 
suming, after a few years, a tone considerably darker than 
when newly cut, the apparent phenomenon being desig- 
nated as the "aging of the wood." 

This change from the original color is most evident in 
oak, which surpasses all other woods in the amount of 
tannin contained. The dull brown tone it assumes after 
long periods of use is developed through the influence of 
ammonia (always present in small quantities in the air) on 
the tannin of oak in the presence of air. 

This so-called Antique-Oak color, characteristic of 
century-old furniture or interiors, was formerly attained 
only through the process of time; but now its much-prized 
beauty may be artificially produced by the ingenious and 
simple method of fuming with gaseous ammonia. 

Fuming of Oak 

The fuming of oak is done as follows: 

Oak articles to be stained are first carefully sand- 
papered, then placed in a vacant room, care being taken 
that they do not touch each other. On the floor of the 
room, according to its size, put one or more dishes of con- 
centrated ammonia (also called spirits of sal-ammoniac). 



MORDANTING AND STAINING 49 

close all doors and windows as tightly as possible, and let 
the articles remain for a day under the influence of the 
evaporating gaseous ammonia. This, in collaboration with 
oxygen present in the air, acts upon the tannin of the oak, 
obtaining that dull brown tone of antique appearance 
which would otherwise result only from many years' ex- 
posure to atmospheric influences. 

Furniture factories where such procedure is a regular 
undertaking, usually have a specially-constructed chest of 
matched boards with large doors, but any moderately- 
sized room which can be tightly closed is available for the 
purpose. 

Each piece of furniture before fuming should be com- 
pletely finished and put together. In selecting the wood it 
is advisable to get it all from one trunk, or at least to ob- 
tain wood of the same age and which has been dried the 
same length of time. The veneers must be as similar as 
possible to the solid wood in quality, color and structure; 
and in the execution of especially expensive or particular 
work, both solid wood and veneer should come from one 
trunk. 

All metal trimmings, etc., on furniture must be re- 
moved, and if it is not desired to have all portions share in 
the fuming process, the interior of drawers, cupboards, 
etc., should be given one or two coats of shellac, which will 
render the wood impervious to change. 

Glue, polish, fat, or smudges caused by contact with 
soiled hands must be completely removed from exterior 
surfaces before fuming. 

Each separate article must be set up by itself in order 
that it may be submitted unhindered to the influences of 
the ammonia gases. 

The fuming of all the fittings of a room should be done 
at one time to insure uniformity of coloring. If it is de- 
sired in a new house that one or more rooms be executed 
in antique-oak finish, merely place several dishes of am- 
monia therein, shutting tightly all doors and windows; 



50 MORDANTING AND STAINING 

and in one or two days' time, wainscotting, mouldings, etc., 
are stained a fine, delicate brown. For a room of ordinary 
size, five liters of the strongest spirits of sal-ammoniac are 
sufficient. If the ammonia evaporates too slowly in win- 
ter, owing to the low temperature, put a few pieces of 
quick but unslaked lime into the dishes containing same. 
The lime, being slaked by the water in the ammonia, heats 
it, thereby producing rapid evaporation. 

The depth of tone obtained by this fuming process is 
dependent, in the first place, upon the amount of tannin 
in the oak. 

Note: Articles fumed with gaseous ammonia should be washed 
and matted after a day or two, so that the ammonia which has pene- 
trated within the wood can be thoroughly removed; for if the wood still 
contains ammonia, it will be imprisoned by the subsequent application 
of shellac or varnish, and has, furthermore, a destructive effect upon 
them. 



Intensified Antique Oak Staining 

If the oak wood to be stained contains only a small 
amount of tannin, or if it is desired to have a very dark and 
powerful stain, assistance may be had by increasing arti- 
ficially the amount of tannin in the wood. 

To do this, the oak should be mordanted before 
fuming with a solution of 25 to 50 grams of pyrogallic 
acid in i liter of water, sandpapered lightly and submitted 
to the effect of ammonia fumes in the manner previously 
described. 

This may also be done if the antique tone obtained by 
the fuming has come out too light. In this instance, air the 
objects well in order to rid the pores of all ammonia, then 
stain with a solution of 25 to 50 grams pyrogallic acid in 
I liter of water; sandpaper after the stain has dried, and 
submit again to the fuming process. 

If a very dark antique color is desired, it is better to 
experiment first in fuming a small piece of prepared oak, 



MORDANTING AND STAINING 5 1 

to determine whether the tannin is actually sufficient to 
make dark staining possible. 

If the experimental staining comes out too light, the 
prepared oak contains too little tannin; therefore the 
amount must be increased by preliminary mordanting 
with a pyrogallic acid solution. The wood should be sand- 
papered after the mordant has dried, and then fumed. 

If the wood or veneer for the same article, or for the 
various appointments of a room, is not cut from one trunk, 
the object will emerge from the fuming chamber with some 
portions much darker colored than others, oftentimes 
occasioning its rejection by the customer. 

In this instance also, a supplementary staining of the 
light places with a correspondingly strong solution of 
pyrogallic acid, and refuming, is an excellent method for off- 
setting the irregularities in the tone of the stain acquired. 

Sapwood, which contains scarcely any tannin, can be 
given a preliminary or supplementary staining with a 
solution of 50 to 100 grams of pyrogallic acid per liter 
of water, and then fumed. 

This Antique-Oak stain produced by the effect of 
gaseous ammonia possesses the following advantages: 

1. The gaseous ammonia penetrates deeply into the 
pores of the wood. Thin boards are stained almost 
throughout. 

2. As the gaseous ammonia completely fills the entire 
room, it comes into absolutely equal contact with 
all the free parts of the wood, according a uniform 
coloring, impossible to attain with liquid stains. 

3. The grain is not raised in fuming. Supplementary 
sandpapering is therefore unnecessary. 

4. The process is inexpensive: for an ordinary room, 
3 liters of ammonia is sufficient to give an antique 
stain to all oak parts. 

5. In fuming, the markings of oak are brought out 
darker than other parts, thereby enriching the 



52 MORDANTING AND STAINING 

surface beauty, but, unfortunately, tones obtained 
by the fuming process alone are not absolutely per- 
manent and become lighter in time. 

Note: The solution of pyrogallic acid used for deepening the 
tone of the antique oak must always be prepared fresh just before 
using. 

Antique Oak Staining with Grayish- Brown 

Tone 

The grayish-brown tone, very popular in antique 
stained oak furniture, is usually obtainable by direct 
fuming only when the prepared oak is very rich in tannin. 
A preliminary mordanting of the oak with pyrogallic acid 
produces only a more intensive antique-oak tone which 
falls short of the desired gray shade. 

A simple method of deepening the gray-brown tone 
obtained by fuming, is to color the wax to be used on the 
furniture with Olesole Black "BG." 

To do this, in a receptacle placed over boiling water, 
melt I kilogram of wax in V4 liter of turpentine, add about 
5 to 10 grams Olesole Black '*BG" and stir with a wooden 
paddle until the mixture shows a uniform gray coloring, — 
a matter of several minutes. Treat the fumed furniture 
with this wax preparation in the usual manner. 

Darkening the Fumed Tone 

A simpler method than preliminary or supplementary 
staining of the oak with a solution of pyrogallic acid and 
subsequent fuming for strengthening the tone, is the 
coloring of the wax with Olesole Antique-Oak Brown. To 
prepare: In a receptacle placed over boiling water, melt 
I kilogram of wax in 200 to 400 cu. cm. of turpentine, add 
5 to 10 grams Olesole Antique-Oak Brown. If the tone is 
desired somewhat grayer, add at the same time i to 2 
grams Olesole Black "BG" and stir with a wooden paddle 
until the mixture shows a uniform coloring. 



MORDANTING AND STAINING 53 

With this prepared brown wax, fumed furniture can 
be handled as nicely as when using the uncolored wax. 

Those portions which have come out too light in 
fuming, because of the small quantity of tannin contained, 
may be remedied by using the prepared wax on the light 
places and treating the rest with uncolored wax. 

If the articles are not to be waxed, but matted in some 
other way, they must be stained over with a solution con- 
sisting of 5 to 10 grams Olesole Antique-Oak Brown in 
I Hter turpentine, or a solution of 2 to 4 grams Olesole 
Black ''BG" in i Hter turpentine. 

Subsequent sandpapering of these corrected parts is 
not necessary, as the grain of the wood is not raised by the 
turpentine stain. 

Antique-Oak Staining of Woods Containing Little 

Tannin by Means of Fuming 

If woods containing little tannin, such as beech, fir, 
pine, Carolina pine, etc., are to be stained a characteristic 
oak tone by fuming, it is necessary to supply the missing 
tannin artificially. Pyrogallic acid is the best of the 
natural and artificial tannins for this purpose. 

Ground the sandpapered wood with a hot solution of 
50 to 100 grams pyrogallic acid in i liter of water (ac- 
cording to the depth of tone desired), soften the staining 
uniformly and let dry. Smooth with sandpaper or horse- 
hair and put in the fuming room, where the process is the 
same as with oak. The dull brown tone obtained differs 
very little from fumed oak. 

This method of fuming woods poor in tannin with 
ammonia, to an Antique-Oak tone, has been proven very 
practical in new houses where the mouldings, doors, 
brackets, etc., of a room are of oak, while the ceiling is 
beamed with cheaper wood. If the beamed ceilings are 
given a preliminary staining in the above manner with a 



54 MORDANTING AND STAINING 

correspondingly strong solution of pyrogallic acid, then all 
the fuming can be done in one operation. 

It is always better to experiment first and see how 
strong the pyrogallic acid must be in order to get the de- 
sired Antique-Oak tone. This may be done by staining 
small boards of the same wood with solutions of 50, 75 
and 100 grams pyrogallic acid in i liter of water, and after 
drying and sandpapering, putting them in an air-tight 
wooden chest to fume over night, together with the samples 
of oak wood. 

Lightening the Fumed Stain 

It sometimes happens that the Antique-Oak tone ob- 
tained by fuming is too dark and must be lightened. 

It may also occur that an article desired in its natural 
coloring is placed in the fuming room by mistake, thus 
necessitating a means for removal of the darker tone 
obtained. Because of the fastness of the dye produced 
in the wood by fuming, the lightening of the dull brown 
color offers some difficulty. A complete removal of the 
stain is frankly impossible. 

The best results are obtained by the following process : 

Dilute I part of commercial hydrochloric acid, free 
of iron, with 3 parts cold water, and wash off the articles 
stained too dark with this solution; let the hydrochloric 
acid work for several hours and repeat the process if the 
tone is still too dark. Then remove the hydrochloric acid 
by vigorous rubbings with cold water; sandpaper after 
drying, and matt as usual. 

But if it is desired to give fumed furniture a light 
tone as near the natural as possible, one or two washings 
with diluted hydrochloric acid is insufficient. In this 
instance it is necessary to wax the furniture washed and 
treated as above with a yellow-colored wax in order to 
press the still remaining brown color through same. 



MORDANTING AND STAINING 55 

To prepare: In a receptacle placed over boiling water, 
melt I kilogram bleached wax in 100 to 200 cu. cm. tur- 
pentine. Add a solution of 5 to 10 grams Olesole Yellow 
and I to 2 grams Olesole Orange, and stir with a wooden 
paddle until the mixture is uniformly yellow. When cold, 
apply in the usual manner. After several days the fur- 
niture should be brushed and polished. 

Note : For washing off fumed oak, only hydrochloric acid which 
is absolutely free of iron should be used, as even a slight trace may 
cause gray spots and streaks. Only hydrochloric acid which is color- 
less, is free from iron. If it is slightly yellow this reveals the presence 
of ferric chloride and such hydrochloric acid is unavailable for the 
above use. 

Antique- Oak Imitations with Light-Proof 
Water Stains 

It was shown in the chapter, "Intensified Antique-Oak 
Staining," that weighty disadvantages accrue to the 
process of Antique-Oak staining by fuming with ammonia. 
These disadvantages are attributable to the varying 
peculiarities of oak wood, and in particular to the differ- 
ence in quantity of tannin contained ; therefore they cannot 
be completely avoided. 

To obtain uniformity in fumed furniture it is necessary 
to select oak of the greatest possible similarity of structure 
and possessing approximately the same amount of tannin. 

Because of the uncertainty of this method, many 
furniture manufacturers have discarded the fuming process 
and obtain the desired antique tone by direct staining with 
water-stains. 

Water-stains producing Antique-Oak Browns in varied 
tones, from light dull-brown to dark gray-brown, are 
classified in two groups: 

I. Ammonia Antique-Oak Brown stains "J," "K," 
"L" and "S," composed entirely of chemicals, 
liquid; and Antique Brown stain "M," liquid; used 



56 MORDANTING AND STAINING 

for Staining tannic oak without preliminary mor- 
danting, and 

2. Prepared New Brown stains made from light-proof 
aniline dyes, used for staining oak and all other 
woods, as the presence or absence of tannin in the 
wood in no wise affects their results. 

Preliminary Treatment of Oak Before Staining 

Oak furniture before staining should be thoroughly 
saturated with warm water applied with a clean sponge. 
This raises the grain, necessitating a sandpapering of the 
surfaces when dry. The subsequent application of stain 
does not cause further swelling of the pores, and the tone 
obtained is of greater depth and uniformity than if the 
wetting process were omitted. A still better way is to wash 
off the surface of the oak with a solution of loo grams 
cooking salt per liter of warm water, or with weak ammonia 
water (50 cu. cm. concentrated ammonia per liter of 
water) ; for these solutions raise the grain more energetically 
than pure water. Saturating the surface with a weak 
solution of pure ammonia opens the pores at the same 
time, so that subsequently applied staining solutions can 
penetrate better and deeper into the wood. It is invariably 
advantageous to saturate oak before staining, and espe- 
cially advisable with veneered furniture. 

In hot pressing glued oak veneer, the thin glue pene- 
trates very easily through the large and deep pores, and 
combines with the dyes of the stain, causing the pores to 
appear much darker than the surface after staining. If the 
glue which has penetrated into the pores comes to the 
surface, those portions of the veneered furniture stuck 
with it do not take the stain readily, and light spots appear 
which can be removed only by long sandpapering while wet. 

If veneered oak furniture is well washed off before 
staining with warm water or weak ammonia, the glue 



MORDANTING AND STAINING 57 

which has penetrated through the pores and the glue on the 
surface is freed, distributed evenly, and in parts entirely 
removed; so that it can have no ill effect on the staining. 
The saturated oak surfaces are carefully sandpapered and 
then brushed with a steel brush immediately before stain- 
ing, to rid the pores of fine sawdust and air-bubbles, there- 
by affording the stain a better penetration. 

Antique Stains "J," **K," **L," '*S" and **M" 

These purely-chemical liquid stains, ready for use, 
penetrate deeply within the wood, according light to 
medium antique tones of special beauty and regularity; 
rendering unnecessary a subsequent sandpapering. They 
stain the pores completely without blotching in any way. 

Because of their excellent qualities these preparations 
are often used as grounding stains with a subsequent ap- 
plication of the New-Brown stain or other acetous aniline 
dyes, to produce darker or intermediary tones unattainable 
by the use of the Antique-Oak stains alone; and also for 
obtaining redder, greener or grayer modern oak tones. 

Because of their great penetrability, Antique-Oak 
stains permeate thin coats of wax and matting without 
necessitating their removal, thus constituting darkening 
stains for already matted natural-colored or light oak 
furniture. 

The great advantage of these preparations for staining 
oak is their property of combining with the tannin con- 
tained therein, thus according yellow-brown, dull-brown 
and gray-brown tones. 

If desired to produce very powerful tones with oak 
stains alone, it is necessary to effect a corresponding in- 
crease of tannin by previous mordanting of the wood with 
a solution of 10 to 25 grams of pyrogallic acid per liter of 
hot water; then stain this grounded surface with Antique 
stains in the usual manner. For woods with little tannin, 
the Antique-Oak stains alone are insufficient. 



58 MORDANTING AND STAINING 

All Antique-Oak stains can be mixed at will in order 
to get intermediary tones, but there may also be added to 
them a small quantity of the acetous dye previously dis- 
solved in hot water for shading either up or down. 

No. I. Light Yellowish Oak Tone 

To previously saturated and sandpapered oak apply 
Antique-Oak stain "J," very wet; let it penetrate suffi- 
ciently into the wood, and then soften. 

Remarks: i. In all staining with Antique-Oak stains, the im- 
mediate result is a very powerful dull, reddish-brown tone which does 
not assume its decisive hue until about twenty-four hours; this grows 
lighter for forty-eight hours, and then remains set. Thus, if oak fur- 
niture is to be matched with other, even though stained with the same 
Antique stain, it must stand several days before absolute similarity 
can be assured. 

2. The full beauty of tone obtained with Antique-Oak stains is 
not apparent until after rubbing with curled hair. If desired, surfaces 
may be waxed and polished. 

3. If oak furniture grounded with Antique-Oak stains is to be 
coated with acetous aniline dyes, e. g., New-Brown stains "A," "B," 
"C," "D," "E," New Green-Brown "F" and "G," etc., it is best done 
when the grounded surfaces are still moist, as the stains will combine 
better in the moist state. 

4. If light tones are desired, the Antique-Oak stain can be diluted 
with ammonia-water. (Use the proportion of 25 c.c. ammonia to a 
liter of water.) 

5. If the tone produced by Antique-Oak stain alone is desired 
redder, greener or grayer, a small quantity of Persio-Red, New True- 
Green or Nigrosine, soluble in water, can be added and the result 
obtained with one staining. For this purpose use the stock solutions of 
acetous aniline dyes. 

6. A large quantity of acetous dye should not be added to the 
Antique-Oak stain, as an insoluble precipitate is produced by the 
chemicals in solution to it. 

7. If desired to employ Antique-Oak stains for the purpose of 
darkening already matted oak furniture, add 50 cu. cm. ammonia per 
liter of stain, that it may better penetrate the coat of shellac. Apply 
this combination very wet; leave it long enough to remove the shellac, 
and then soften. 



MORDANTING AND STAINING 59 

8. If already matted oak furniture is to be stained very dark 
brown tones, the Antique-Oak stain is not sufficient. For this purpose 
use the liquid Special-Oak stains I-XVI, double concentrated, properly 
diluted with cold water and 50 to 100 cu. cm. ammonia per liter of 
stain, in order to penetrate the matting. 

No. 2. Old Oak Staining with Dull Brown Tone 

To previously-saturated and sandpapered oak apply 
Antique-Oak stain "K," exactly as in Formula No. i, and 
observe Remarks 1-8 on page 58. 

No. 3. Old Oak Staining with Dull, Weak Gray- 
Brown Tone 

To the prepared surface apply Antique-Oak Brown 
"L," liquid, exactly as in Formula No. i, and observe 
Remarks 1-8 on page 58. 

No. 4. Dark Old Oak Staining with Very Gray- 
Brown Tone 

To the prepared surface apply Antique-Oak stain 
*'S," liquid, exactly as in Formula No. i, and observe 
Remarks 1-8 on page 58. 

No. 5. Oak Staining with Yellowish- Brown Tone 

To the prepared surface apply Antique-Oak stain 
"M," liquid, exactly as in Formula No. i, and observe 
Remarks 1-8 on page 58. 



Old Oak Imitations with Light-Proof Aniline 
Dyes (New-Brown Stains) 

The New-Brown stains, "A," "B," "C," "D," 
"E" and "J," which are very fast to Hght, produce on oak 
all the various antique tones from light to medium, to 
dark; according to the amount of dye used per liter of 
staining solution. 



60 MORDANTING AND STAINING 

The final tone obtained with the New-Brown stains 
is absolutely independent of the amount of tannin in the 
oak, and is due solely to the dyes used. 

Because of this quality, the New-Brown stains can 
be used for staining woods with little or no tannin, and all 
others. An addition of 50 cu. cm. concentrated ammonia 
per liter of the ready solution is always advisable with 
New-Brown stains, as it renders easier their penetration 
into t^e pulp of the wood and effects a uniform finish. All 
New-Brown stains can be mixed together at will for ob- 
taining intermediary tones. 

No. 6. Light Smoke Tone 

7 grams New-Brown "J." Dissolve in i liter boiling 
water; when cool, filter, and the staining solution is ready 
for use. An addition of 50 cu. cm. ammonia after it has 
cooled is always an advantage. 

Stain the previously-saturated and sandpapered oak 
furniture with this ammonia solution very wet, allowing 
sufficient time for its penetration into the wood; then 
soften with softening-brush or cloth. 

With reference to the preparation of oak surfaces, see 
chapter entitled "Preliminary Treatment of Oak Before 
Staining," pages 56-57- 

No. 6-A, Manufacture of the Same with (Stock Solutions) 
140 cu. cm. New-Brown "J>" diluted with 
860 " " water. 



1000 cu. cm. — I liter staining solution ready for use after the 
addition of 50 cu. cm. ammonia. 

No. 7. Medium, Yellowish Smoke Tone 

30 grams of New-Brown "A." Dissolve in i liter 
boiHng water; add 50 cu. cm. ammonia after cooling; filter, 
and the staining solution is ready for use. Apply as in 
Formula No. 6. 



MORDANTING AND STAINING 6 1 

No. 7-A. Manufacture of the Same with (Stock Solutions) 
600 cu. cm. New-Brown "A," diluted with 
400 " " water. 



1000 cu. cm. = I liter staining solution, ready for use after the 
addition of 50 cu. cm. ammonia. 

No. 8. Medium Smoke Tone 

20 grams New-Brown "B." Dissolve in i liter 
boiling water, add 50 cu. cm. ammonia after cooling; filter, 
and the staining solution is ready for use. Apply as in 
Formula No. 6. 

No. 8-a. Manufacture of the Same with (Stock Solutions) 
400 cu. cm. New-Brown B," diluted with 
600 " " water. 



1000 cu. cm. — I liter staining solution, ready for use after the 
addition of 50 cu. cm. ammonia. 

No. 9. Medium, Dull Antique-Oak Tone 

25 grams New-Brown ''D." Dissolve in i liter 
boiling water, add 50 cu. cm. ammonia after cooling; filter, 
and the staining solution is ready for use. Apply as in 
Formula No. 6. 

No. 9-A. Manufacture of the Same with (Stock Solutions) 
500 cu. cm. New-Brown "D" stock solution, diluted with 
500 " " water. 



1000 cu. cm. — I liter staining solution, ready for use after the 
addition of 50 cu cm. ammonia. 

No. 10. Dark, Gray-Brown Antique-Oak Tone 

40 grams New-Brown "E." Dissolve in i liter boil- 
ing water, add 50 cu. cm. ammonia after cooling; filter, 
and the staining solution is ready for use. Apply as in 
Formula No. 6. 



62 MORDANTING AND STAINING 

No. lo-A. Manufacture of the Same with (Stock Solution) 
800 cu. cm. New-Brown "E," stock solution, diluted with 
200 " " water. 



1000 cu. cm. — I liter staining solution, ready for use after the 
addition of 50 cu. cm. ammonia. 

Antique Oak Staining of Woods with Prominent 
Marking, but Containing Little Tannin 

Very beautiful and excellent Antique-Oak tones are 
produced on fir, pine, Carolina pine, pitch-pine, beech, etc., 
by supplying the lacking tannin with a preliminary ap- 
plication of a tannic acid, such as pyrocatechine or pyro- 
gallic acid; then applying to the surface so grounded the 
Antique-Oak stain. The final tones are developed in about 
twelve hours, are light and water-proof, and strongly 
intensify the natural marking. 

No. II. Tone of Aged Fir or Pine Wood 

Ground the well-sandpapered surfaces with a solution 
of 25 grams pyrocatechine in i liter of water; when dry, 
apply Antique-Oak stain "M," Hquid. 

No. 12. Yellowish Antique-Oak Tone on Woods 
WITH Little Tannin 

Ground the well-sandpapered surfaces with a solution 
of 50 grams pyrogallic acid in i liter of water; when dry, 
sandpaper lightly and apply Antique-Oak stain "M," 
liquid. 

No. 13. Medium, Dull Brown Antique-Oak Tone 
ON Woods with Little Tannin 

Ground the well-sandpapered surfaces with a solution 
of 25 grams pyrogallic acid in i liter of water; when dry, 
sandpaper lightly and apply Antique-Oak stain "K," 
liquid. 



MORDANTING AND STAINING 63 

No. 14. Dark Gray-Brown on Woods with Little 

Tannin 

Ground the well-sandpapered surfaces with a solution 
of 50 grams pyrogallic acid in i liter of water; when dry, 
sandpaper lightly and apply Antique-Oak stain "L," 
liquid. 

Remark I: The solutions of pyrocatechine and pyrogallic acid 
used for grounding must always be freshly prepared, and cannot be 
kept long. 

Remark II: The grounding with pyrocatechine and pyrogallic 
acid produces no stain, but a dye is generated by the influence of the 
Antique-Oak stain on the pulp of the wood. Hence, it may easily 
happen that in applying the colorless grounding with a brush or sponge, 
certain parts, especially corners and edges, are poorly or not at all im- 
pregnated. After the development of the final tone these neglected 
places show as white or light spots, and are very hard to remove. 
Great care should therefore be taken in applying these colorless ground- 
ings as well as in softening them; for every irregularity in the dis- 
tribution of the grounding shows very distinctly in the form of light or 
dark spots as soon as the stain is developed. 

Remark III: A preliminary preparation of coniferous woods with 
Arti-Equalizer is not admissible in connection with the use of Antique- 
Oak stains. 

Walnut Imitations 

Walnut Imitation with Granular Walnut Stain 

The stain obtained by boiling down Vandyke-Brown 
with soda or potash, and long used for walnut imitation, 
comes in the form of small, irregular, black-brown grains 
or sticks. 

Dissolve 100 to 150 grams^ Granular Walnut stain in 
I liter of boiling water, filter through a fine-meshed cotton 
cloth, and apply to the wood as hot as possible. 

This stain possesses the quality of being fast to light 
and air, is exceedingly inexpensive, and may be kept in 
solution a very long time. 

Because of the difficult assimilation of Granular Wal- 
nut stain by the hard parts of the wood it is advisable to 



64 MORDANTING AND STAINING 

dampen fir and pine before staining with a wet sponge, in 
order to diminish the assimilation of the soft parts; and if 
ammonia is added to the solution a more uniform tone 
will result. 

On account of their light coloring, the hard annual 
rings show very distinctly when using this stain. 

By going over walnut-stained surfaces with a solution 
of 25 to 30 grams of potassium chromate the tone becomes 
somewhat redder, and with a solution of i part pyro- 
lignite of iron to 10 parts water, somewhat grayer and 
duller. 

In spite of being light-proof and inexpensive, the 
Granular Walnut stain is by no means an ideal one, for its 
solutions always contain a considerable number of floating 
particles of earth seemingly unremovable by filtering, 
which smudge the surfaces and clog the pores, giving them 
a dark appearance. Because of the weak penetrability of 
granular solutions, furniture stained with them has the 
disadvantage of lacking permanency ; for, after short usage, 
this finish wears off at the corners and edges, allowing the 
uncolored wood to show through. 

Walnut Imitations with Permanganate of 
Potassium 

Permanganate of potassium comes in the form of 
black-violet crystals and dissolves in hot water with a 
reddish-violet color. Its availability for wood-staining 
rests on its property of depositing in the veins of the wood a 
good light and air-proof brown residue, occasioned by the 
simultaneous effect of air and the presence of organic 
substances (including wood). 

Staining with permanganate of potassium is done as 
follows : 

Dissolve 25 to 50 grams permanganate of potassium 
in I liter of hot but not boiling water; let the solution stand 
about ten minutes, stirring frequently, and then filter. 



MORDANTING AND STAINING 65 

The solution must be applied to the wood with either 
a sponge or a woolen cloth, as brush-bristles are immedi- 
ately destroyed by the strong permanganate. 

Freshly-stained wood has a brilliant red-violet ap- 
pearance at first, but after the dye is deposited in the 
veins, assumes a walnut-brown tone. 

If a very strong dark stain is required, it is necessary 
to give a second application, as stronger solutions of per- 
manganate of potassium cannot be made on account of its 
slight solubility. Fir and pine should first be saturated 
with a wet sponge. 

The light to dark walnut-brown stain obtained with 
permanganate of potassium has the property of being 
immediately destroyed by mineral acids, especially by 
strongly deodorizing substances, such as bisulphite of 
sodium or sulphuric acid. 

This fact is put to practical use when stencilling de- 
signs on light to dark brown backgrounds in imitation of 
inlaid work. 

Glue stencil to the surface and apply bisulphite of 
sodium thickened with dextrine to the open design; this 
process removes the brown stain therefrom. (Bisulphite 
of sodium is obtainable at any large drug store, either in 
crystal form or n solution.) 

Remove stencil and wash the wood with water; when 
dry, sandpaper lightly and polish or varnish. 

If preferred, the stencil design may be bleached with 
sulphuric acid (fumes of sulphur). 

Saturate the design-portion with a wet sponge; place 
the article in the fuming-room and burn sulphur therein. 
In a brief while the fumes destroy or bleach the brown 
stain from the uncovered parts of the wood, and it is then 
ready for procedure as above. 

Hard, fine-pored woods (maple, birch, cherry, etc.), 
afford the best ground for such imitation inlaid work, and 
it is of the utmost importance that the stencil be made to 
adhere firmly at the edges. 



66 MORDANTING AND STAINING 

Should the process prove unsuccessful, the fault may 
be with the bisulphite of sodium, as this salt keeps only a 
very limited time, and must be in a tightly-closed re- 
ceptacle in a cool place. 

Walnut Imitations with Aniline Dyes 

Lighter and darker walnut tones are obtainable with 
Walnut-Brown stains "R" and "G," soluble in water. 

As the designation "walnut brown" means no certain 
fixed tone, and sometimes gray-brown and sometimes 
reddish or yellowish dark-brown walnut imitations are 
desired, it is often necessary to modify somewhat the 
colors obtained with Walnut-Brown "R" and "G." 
This is effected by the addition of Nigroslne and New True- 
Green (both soluble in water), using the stock solutions of 
the above dyes as described on pages 40 to 44. 

No. 15. Walnut Imitation with Walnut-Brown 

"R" 

50 grams Walnut-Brown "R." Dissolve in i liter 
boiling water, add 50 cu. cm. ammonia after cooling; 
filter, and the staining solution is ready for use. 

No. 1 5- A. Manufacture of the Same with Stock Solutions 
Use the stock solution of Walnut-Brown "R," to which has been 

added 50 cu. cm. ammonia, without thinning. 

Remark: Should the tone be too red (which may occur with light 

tones), add a little New True-Green, or Nigrosine. 

No. 16. Walnut Imitations with Walnut-Brown 

"G" 

50 grams Walnut-Brown "G." Dissolve in i liter 
boiling water, add 50 cu. cm. ammonia after cooling; filter, 
and the staining solution is ready for use. 

No. 16-A. Manufacture of the Same with Stock Solutions 
Use the pure unthinned stock solution of Walnut-Brown "R," 

without any thinning. 

Remark: Walnut-Brown "G" gives rather yellowish-walnut 

tones. 



mordanting and staining 67 

Darkening of Natural Walnut Wood 

Natural walnut is light or dark in coloring, according 
to its age and origin, whether it be French, German, Italian 
or American. 

Dark, black-veined walnut is of greater commercial 
value than the light walnut with less veins showing ; there- 
fore to the latter wood it is endeavored to impart, by arti- 
ficial means, the rich dark coloring of the former. 

This can be effected with any of the water-stains 
described for walnut imitation, but best by Walnut-Brown 
"R" or "G," previously diluted with water, according to 
the natural ground-color of the walnut wood. 

For heightening the natural walnut tone and imparting 
a warmer, redder tone, stain with the alcoholic extract of 
bloodroot and dragon's-blood; or stain the shellac with 
this extract, as described under mahogany stains. 

The same effect is obtainable by staining the first 
coats of shellac with Mahogany-Brown ''H" or "D," 
(soluble in alcohol). 

Rosewood Imitation 

Similar to walnut, but more intensive and darker 
reddish-brown in tone is the precious rosewood, which is 
best imitated on dark-veined walnut. But as this is nearly 
as high in price as rosewood, other cheaper woods are 
used for the imitation of the latter. The simplest method 
is the use of Rosewood-Brown, soluble in water. 

No. 17. Rosewood Imitation 

60 grams Rosewood-Brown (soluble in water). Dis- 
solve in I liter boiling water; when cool, filter, and the 
staining solution is ready for use. 



68 MORDANTING AND STAINING 

Mahogany Imitations 

Light walnut sapwood is best fitted for imitating 
mahogany, as the formation of the pores is nearly the same. 
Good imitations are also obtained on alder, red beech and 
cherry. 

Mahogany Staining with Mahogany-Brown 

"H" AND "D" 

Mahogany-Brown dyes "H" and D" (soluble in 
water), are recommended for their light-proof qualities, 
simple requirements of use and the certainty of obtaining 
a striking mahogany tone. 

No. 1 8. Light Mahogany 

20 grams Mahogany- Brown "H." Dissolve in i 
liter boiling water, add 50 cu. cm. ammonia after cooling; 
filter, and the staining solution is ready for use. 

No. 18-A. Manufacture of the Same with Stock Solutions 
400 cu. cm. Mahogany- Brown "H," diluted with 
600 " " water. 



1000 cu. cm. ^= I liter staining solution, ready for use after the 
addition of 50 cu. cm. ammonia. 

No. 19. Dark Mahogany 

50 grams Mahogany-Brown "D." Dissolve in i liter 
boiling water, add 50 cu. cm. ammonia after cooling; 
filter, and the staining solution is ready for use. 

No. 1 9- A. Manufacture of the Same with Stock Solutions 
Use the stock solution of Mahogany- Brown "D," to which has 
been added 50 cu. cm. ammonia, without diluting. 

According to its age and origin, the natural mahogany 
varies in color, being sometimes a light, sometimes a more 
yellow-brown, and again a dark decided reddish-brown. 
Likewise, in mahogany imitations there are different 



MORDANTING AND STAINING 69 

tones, designated respectively as old-mahogany, new-ma- 
hogany, rosewood-mahogany, American-mahogany, etc. 

Old-mahogany has a very decided red tone. 

New-mahogany shows a light, yellowish-brown color- 
ing. 

Rosewood-mahogany has a dark, claret tone, and 

American-mahogany has a very bright, but deep, 
claret tone. 

To produce these various colorings, Mahogany-Brown 
"D" is tinged according to requirements, with New-Red 
or with Persio-Red, or with both simultaneously. 

Use the stock solutions described on pages 40 to 44 
and make experiments first with a sample of the wood 
which is to be stained in order to get the correct tone. 

As the full beauty of a stain is not wholly apparent 
until after the shellacking and matting, this should be done 
with the sample, that the finished result may be seen. 

For a full, rich, dark mahogany stain, it is often 
necessary to color the shellac with Mahogany-Brown 
"D" or Mahogany-Red (both soluble in alcohol). To 
produce the popular bluish-red tone in dark mahogany 
staining, stain the polish with a little Diamond Magenta 
or Methyl-Violet, (both soluble in alcohol). 

For brightening light mahogany imitations use 
Mahogany-Brown "H," (soluble in alcohol). A ground 
polish should always be applied first in cases where a sup- 
plementary coloring of the natural or previously-stained 
wood is necessary when polishing, as a regular distribution 
of the stain by the polishing ball is not possible in any 
other way. 

" — - No. 20. Mahogany Red 

65 grams Mahogany-Red. Dissolve in i liter boiling 
water, add 50 cu. cm. ammonia after cooling; filter, and 
the staining solution is ready for use. 



70 mordanting and staining 

Darkening the Natural Mahogany Wood 

Mahogany with a natural coloring of intense red- 
brown is of far greater value than light, dull-colored ma- 
hogany; therefore artificial means are employed to effect 
in the latter wood a simulation of the rarer and more 
expensive species, by the use of potassium chromate, blood- 
root and dragon's-blood. 

A powerful reddish-brown tone, very fast to light, is 
shortly produced through the influence of the potassium 
chromate on the natural dye and tannin always present in 
large quantities in mahogany. 

The solution should not contain more than 25 to 
30 grams potassium chromate per liter of water, for if 
used in greater strength a superfluous amount may remain 
in the wood without combining with the dye and tannin 
therein, and have a very destructive effect on the shellac 
or varnish subsequently applied. The latter loses its 
elasticity, can no longer follow the continual expansion 
and contraction of the wood, and cracks in a short time. 

This destructive effect of the uncombined potassium 
chromate on shellac, etc., is due to its acetous character 
and may be prevented by placing furniture so stained in 
the fuming chamber with gaseous ammonia; or, if more 
convenient, by washing it with a solution of i-io liter am- 
monia in I liter of cold water. The gaseous or liquid 
ammonia which has penetrated into the wood converts the 
superfluous potassium chromate into a perfectly harmless 
salt without influencing the tone of the stain in any way. 

In all instances, sodium chromate can be used with 
exactly the same effect as potassium chromate, but the 
former has the advantage of being more easily soluble in 
water and requiring less time to prepare. Even in the 
manufacture of very concentrated solutions there is abso- 
lutely no precipitation of the dissolved salt when the solu- 
tion cools, such as is often observed on cold winter days 
with strong solutions of potassium chromate. 



MORDANTING AND STAINING 7 1 

The solubility of sodium chromate in water is so high 
that its solution may be effected in cold water, but it must 
be kept in closed receptacles and in a dry place, as it easily 
absorbs moisture from the air and then deliquesces. 

To render the natural tone of the mahogany warmer 
and brighter, stain with an extract of dragon's-blood and 
bloodroot prepared as follows: 

Transfuse 50 grams bloodroot and 50 grams dragon's- 
blood with I liter high per cent, alcohol and let the mixture 
stand for several days in a warm place. The dye is ex- 
tracted by the alcohol, which becomes a deep red. Filter 
and put in bottles for future use. 

The same effect may be produced by staining the 
subsequently applied shellac with Mahogany- Brown "H" 
or "D," (soluble in alcohol). 

Unhealthy Effects of Potassium Chromate Stains 

In wool-dyeing establishments, where the use of 
chromate of potassium and sodium is general, and in other 
places of their use, it has been observed that young work- 
men especially, who have had little or no previous contact 
with potassium chromate stains, are infected with a pe- 
culiar disease upon coming into contact with these chem- 
icals. Their hands and arms show painful, ulcerous ab- 
scesses, which do not heal, as a rule, until the patient is a 
long time removed from proximity to the chemicals 
concerned. 

This disease is favored especially by skin defects, cuts, 
etc., by which the solutions gain penetration. 

An antidote for this poisoning is to bathe the hands 
and arms after contact with a solution of 50 cu. cm. of 
liquid bisulphite of sodium in i liter of cold or lukewarm 
water. If liquid bisulphite of sodium cannot be obtained, 
use a solution of 50 grams of solid bisulphite of sodium in 
I liter of water, but add 10 cu. cm. of hydrochloric acid or 
5 cu. cm. of sulphuric acid, so that there is a very per- 
ceptible odor of the latter. 



72 MORDANTING AND STAINING 

This preparation immediately converts the poisonous 
chromic-acid into harmless chrome-green, and abscesvses 
are prevented. The solution of bisulphite of sodium must 
always be freshly prepared, as it loses its effect after 
standing. 

Older workmen and those accustomed by long usage 
to these acids are seldom if ever affected, which demon- 
strates that the human body may, with time, be rendered 
impervious to certain chemical effects. 

Staining of Genuine Mahogany 

The harmful and often destructive effect exercised by 
potassium stains on shellac has been the one disadvantage 
of their use. 

No undesirable element whatsoever is present in the 
new Ammonia Genuine Mahogany stains "N," "P," 
"Q" and "R," liquid, which are ideally adapted to all 
requirements. 

In combination with the natural tannin of mahogany 
and the dye pigments contained therein, they produce 
reddish to dark red-brown tones of light and water-proof 
quality, and have no injurious effect on the subsequently 
applied shellac. 

The essentially fine properties of Ammonia Genuine 
Mahogany stains may be summarized as follows: 

1 . They have no ill effect on coats of shellac or varnish. 

2. They are especially light-proof. 

3. They penetrate deeply into the wood. 

4. They leave the pores of the mahogany open. 

5. Their stains do not rub through. 

6. The tones obtained are deeper and more intense than 
those produced with potassium stains, so that further 
treatment of the shellac with dyes soluble in alcohol, 
or with extract of bloodroot, is unnecessary. 

As the Genuine Mahogany stains form a dye only 
with the tannin and dye of genuine mahogany, they are 



MORDANTING AND STAINING 73 

not to be used for woods similar to mahogany with little 
tannin, and never with woods containing no tannin. 

No. 21. Light Mahogany 

Stain mahogany, previously rubbed with oil, with 
Genuine Mahogany stain "N," liquid, and ready for use, 
very wet; let it penetrate well into the wood and then 
soften. 

A light reddish-brown tone develops in a few hours. 

As with potassium stains, the oiling may be done after 
the staining. 

No. 22. Dark Mahogany 

Stain mahogany, previously rubbed with oil, with 
Genuine Mahogany stain "P," liquid, and ready for use, 
exactly as described in Formula No. 21. 

No. 23. Red Mahogany 

Stain mahogany, previously rubbed with oil, with 
Genuine Mahogany stain "Q," liquid, and ready for use, 
exactly as described in Formula No. 21. 

No. 24. Reddish-Dark Mahogany 

Stain mahogany, previously rubbed with oil, with 
Genuine Mahogany stain "R," liquid, and ready for use, 
exactly as described in Formula No. 21. 

Brown Staining with Light-Proof, Acetous Aniline 
Dyes in Modern Tones 

By the proper combination of a limited number of 
light-proof acetous aniline dyes, many and varied tones 
may be produced on woods containing little tannin, such as 
fir, pine, pitch-pine, Carolina pine, alder, beech, American 
whitewood, maple, etc., as well as on oak, which is rich in 
tannin; the lesser or greater amount thereof having no 
influence on acetous aniline dyes. 



74 MORDANTING AND STAINING 

In order to stain the surfaces as regularly as possible, 
very resinous woods, such as pitch-pine and Carolina pine, 
should have the resin previously removed by the process 
described on pages 29 to 32. 

With woods containing little resin, such as fir, alder, 
maple, etc., a simple preliminary preparation of the sur- 
faces with Arti-Equalizer as described on pages 25 to 26 
is sufficient. Oak wood should always be saturated before 
staining with a solution of cooking salt. (See "Preliminary 
Treatment of Oak Before Staining," pages 56 to 57.) 
For simple and rapid preparation of staining solutions 
ready for use, employ the proper stock solutions (pages 
40 to 44). 

a. Staining on Wood Containing Little Tannin 

No. 25. Cherry Imitation 

3.25 grams New-Orange, 
I gram New- Yellow, 
0-75 grams Nigrosine. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 25-A. Manufacture of the Same with (Stock Solutions) 

65 cu. cm. New-Orange, 

20 " " New- Yellow, 

15 " " Nigrosine, 

900 " " water. 



1000 cu. cm. — I liter staining solution ready for use. 

No. 26. Light, Brilliant, Reddish-Brown 

7.25 grams New-Orange, 
2 " Nigrosine, 

1.25 " Persio-Red. 

Dissolve in i liter hot water; when cool, filter, and the 
staining solution is ready for use. 



MORDANTING AND STAINING 75 

No. 26-A. Manufacture of the Same with (Stock Solutions) 

145 cu. cm. New-Orange, 

40 " " Nigrosine, 

25 " " Persio-Red, diluted with 
790 " " water. 



*^'ji^ 



1000 cu. cm. — I liter staining solution ready for use. 

No. 27. Powerful Yellow- Brown 

30 grams New-Brown "A," 

7.5 " Mahogany-Brown "H." 

Dissolve in i liter hot water; when cool, filter, and the 
staining solution is ready for use. 

No. 27-A. Manufacture of the Same with (Stock Solutions) 

600 cu. cm. New-Brown "A," 

150" " Mahogany-Brown "H," diluted with 
250 " " water. 



1000 cu. cm. — I liter staining solution ready for use. 

No. 28. Light, Yellowish Dull-Brown 

6.5 grams Nigrosine, 

2.5 '' True- Yellow "G," 

3.0 '' New-Orange. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 28-A. Manufacture of the Same with (Stock Solutions) 

130 cu. cm. Nigrosine, 

50 " " True- Yellow "G," 

60 " " New-Orange, diluted with 
760 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 



76 MORDANTING AND STAINING 

No. 29. Medium, Reddish, Dull-Brown 

30 grams New-Brown "E." Dissolve in i liter 
boiling water; when cool, filter, and the staining solution is 
ready for use. 

No. 29- A. Manufacture of the Same with (Stock Solutions) 
600 cu. cm. New-Brown "E," diluted with 
400 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 30. Dark Antique-Oak Brown 

46 grams New-Brown "D," 
3 " Nigrosine, 
I " Persio-Red. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 30-A. Manufacture of the Same with (Stock Solutions) 

920 cu. cm. New-Brown D," 
60 " " Nigrosine, 
20 " *• Persio-Red, 



1000 cu. cm. = I liter staining solution ready for use. 

No. 31. Light, Dull, Red-Brown 

5.5 grams New True-Green, 
1.25 " Persio-Red, 
0.5 " Mahogany-Brown "H." 
Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 3 1 -A. Manufacture of the Same with (Stock Solutions) 
no cu. cm. True-Green, 
25 " " Persio-Red, 
10 " " Mahogany-Red, diluted with 
855 " " water, 



1000 cu. cm. = I liter staining solution ready for use. 



MORDANTING AND STAINING 77 

No. 32. Medium Violet-Brown 

5 grams Walnut-Brown "R," 
2 " Persio-Red, 
8 " Nigrosine. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 32-A. Manufacture of the Same with (Stock Solutions) 

100 cu. cm. Walnut-Brown "R," 

40 " " Persio-Red, 

160 " " Nigrosine, diluted with 

700 " " water. 



1000 cu. cm. ■= I liter staining solution for ready use. 

No. 33. Rich Red-Brown 

30 grams Walnut-Brown "R," 
15 " Nigrosine, 
5 " Mahogany-Brown "D." 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 33-A. Manufacture of the Same with (Stock Solutions) 

600 cu. cm, Walnut-Brown "R," 

300 " " Nigrosine, 

100" " Mahogany- Brown "D," 

1000 cu. cm. =1 liter staining solution ready for use. 

No. 34. Rich, Dark Brown 

30 grams Walnut-Brown "R," 

10 " Nigrosine, 

10 " New True-Green. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 



78 MORDANTING AND STAINING 

No. 34-A. Manufacture of the Same with (Stock Solutions) 

600 cu. cm. Walnut-Brown "R," 

200 " " Nigrosine, 

200 " " New True-Green, 



1000 cu. cm. = I liter staining solution ready for use. 

No. 35. Light Mode Brown 

7.5 grams Nigrosine, 
1.5 " New-Orange, 
i.o " True- Yellow "G." 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 35-A. Manufacture of the Same with (Stock Solutions) 

150 cu. cm. Nigrosine, 

30 " " New-Orange, 

20 " " True-Yellow"G," diluted with 

800 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 36. Modern Gray-Brown 

20 grams New Gray-Brown "F." Dissolve in i liter 
boiling water; when cool, filter, and the staining solution 
is ready for use. 

No. 36-A. Manufacture of the Same with (Stock Solutions) 

400 cu. cm. New Gray-Brown "F," diluted with 
600 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

b. Staining on Oak Wood 

No. 37. Tone of Oiled, Naturally-Polished Oak 

ID grams Oak-stain "H" (light). Dissolve in i liter 
boiling water; when cool, filter, and the staining solution 
is ready for use. 



MORDANTING AND STAINING 79 

No. 37-A. Manufacture of the Same with (Stock Solutions) 
200 cu. cm. Oak-Stain "H "(stock solution), diluted with 
800 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 38. Light, Dull Yellow-Brown 

6 grams New- Brown "J," 
2 " New-Orange. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 38-A. Manufacture of the Same with (Stock Solutions) 
120 cu. cm. New-Brown "J," 
40 " " New-Orange, diluted with 
840 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 39. Medium, Bright Yellow-Brown 

10 grams Walnut-Brown "G," 
5 " New- Yellow, 
5 " New-Orange. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 39- A. Manufacture of the Same with (Stock Solutions) 
200 cu. cm. Walnut-Brown "G" (stock solution), 
100 " " New- Yellow (stock solution), and 
100 " " New-Orange, diluted with 
600 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 40. Light, Yellowish Mode Brown 

2 grams Nigrosine, 

1.5 " True- Yellow "G," 

1.5 " New-Orange. 



80 MORDANTING AND STAINING 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 40-A. Manufacture of the Same with (Stock Solutions) 

40 cu. cm. Nigrosine, 

30 " " True- Yellow "G," 

30 " " New-Orange, diluted with 

900 " " water. 



1000 cu. cm. =: I liter staining solution ready for use. 

No. 41. Medium Bronze Brown 

15 grams New-Brown "B," 
5 " New-Brown "C." 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 41 -A. Manufacture of the Same with (Stock Solutions) 

300 cu. cm. New-Brown "B," 

100" " New-Brown "C," diluted with 

600 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 42. Light, Reddish Mode Brown 

8 grams Nigrosine, 
I gram True- Yellow "G," 
3.5 grams New-Orange. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 42-A. Manufacture of the Same with (Stock Solutions) 

160 cu. cm. Nigrosine, 

20 " " True- Yellow "G," 

70 " " New-Orange, diluted with 
750 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 



MORDANTING AND STAINING 8 1 

No. 43. Light, Reddish Gray-Brown 

4 grams New Gray-Brown "G," 
4 " New-Brown "C." 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 43-A. Manufacture of the Same with (Stock Solutions) 
80 cu. cm. New Gray-Brown, 
80" " New-Brown "C," diluted with 
840 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 44. Rich Reddish-Brown 

50 grams New-Brown "G." Dissolve in i liter boiling 
water; when cool, filter, and the staining solution is ready 
for use. 

No. 44-A. Manufacture of the Same with (Stock Solutions) 
Use the pure, undiluted stock solution of Walnut-Brown "G." 

Anthracene Stains 

All the various shades of modern dull-brown tones can 
be produced on oak wood with the new Anthracene stains. 

Anthracene stains possess special qualities which 
render them particularly applicable to oak, and also to 
woods containing little tannin, viz.: 

1. They penetrate deeply into the wood, being hardly 
inferior to Antique-Oak stains in this respect, and are 
more fast to light and air than the latter. 

2. They produce a uniform tone, very dull and beauti- 
ful, the intensity of which is not lessened by age. 

3. Final tones are developed within a few hours and 
are not affected by the amount of tannin in the oak. 

4. The pores are of one tone with the surface if the oak 
has been previously treated with ammonia water. 



82 MORDANTING AND STAINING 

5. Solutions of Anthracene stains, ready for use, can 
be kept a long time without any deterioration in 
quality. 

6. All Anthracene stains may be mixed at will to obtain 
intermediary tones. 

7. The solutions may be made highly concentrated 
(stock solutions — 100 grams dissolved in i liter of 
water), and for medium and light tones may be 
previously diluted with cold water and perhaps a 
little ammonia. 

Method of Making Solutions of Anthracene Stains 

This process differs somewhat from the usual method. 
The procedure is as follows: 

Combine i liter of boiling water with 25 cu. cm. con- 
centrated ammonia and then pour in slowly the Anthra- 
cene stain to be dissolved, stirring constantly. After the 
solution has cooled, add 25 to 50 cu. cm. ammonia per 
liter of staining solution, filter, and it is ready for use. If 
desired, it may be kept in well-closed receptacles for later 
use. 

Note: If the Anthracene stain is dissolved in the usual manner 
by simply pouring in boiling water, a thick foam is formed, which is 
difficult to disperse, and which has an undesirable effect upon the 
staining. 

c. Anthracene Stains on Oak 

No. 45. Strong Medium-Brown on Oak 

50 grams Anthracene-Brown "ED." Dissolve in i 

liter boiling ammonia water; after cooling, add 50 cu. cm. 

concentrated ammonia, filter, and the staining solution is 

ready for use. (For method of dissolving, see page 82.) 

No. 45-A. Manufacture of the Same with (Stock Solutions) 

500 cu. cm. Anthracene-Brown "RD" (stock solution), (100 

grams per liter), diluted with 
500 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 



MORDANTING AND STAINING 83 

No. 46. Medium Reddish-Brown on Oak 

50 grams Anthracene-Brown "2R." Dissolve in i 
liter boiling ammonia water; after cooling, add 50 cu. cm. 
concentrated ammonia, filter, and the staining solution ig 
ready for use. (For method of dissolving, see page 82.) 

No. 46-A. Manufacture of the Same with (Stock Solutions) 
350 cu. cm. Anthracene-Brown "G" (stock solution), (100 grams 

per liter), diluted with 
650 " " cold water. 

1000 cu. cm. =: I liter staining solution ready for use. 

No. 47. Rich Yellow-Brown on Oak 

35 grams Anthracene-Brown "G." Dissolve in i liter 
boiling ammonia water; after cooling add 50 cu. cm. 
concentrated ammonia, filter, and the staining solution is 
ready for use. (For method of dissolving, see page 82.) 

No. 47-A. Manufacture of the Same with (Stock Solutions) 
350 cu. cm. Anthracene-Brown "G" (stock solution), (100 grams 

per liter), diluted with 
650 " " cold water. 

1000 cu. cm. = I liter staining solution ready for use. 

No. 48. Medium, Dull-Brown on Oak 

35 grams Anthracene-Brown ''GR." Dissolve in i 
liter boiling ammonia water; after cooling, add 50 cu. cm. 
concentrated ammonia, filter, and the staining solution is 
ready for use. (For method of dissolving, see page 82.) 

No. 48-A. Manufacture of the Same with (Stock Solutions) 
350 cu. cm. Anthracene-Brown "GR" (stock solution), (100 

grams per liter), diluted with 
650 " " cold water. 

1000 cu. cm. =1 liter staining solution ready for use. 



84 MORDANTING AND STAINING 

No. 49. Medium, Yellowish Dull-Brown on Oak 

35 grams Anthracene-Brown "2G." Dissolve in I 

liter boiling ammonia water; after cooling, add 50 cu. cm. 

concentrated ammonia, filter, and the staining solution is 

ready for use. (For method of dissolving, see page 82.) 

No. 49-A. Manufacture of the Same with (Stock Solutions) 

350 cu. cm. Anthracene-Brown "2G" (stock solution), (100 

grams per liter), diluted with 
650 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 50. Medium, Reddish Dull-Brown on Oak 

30 grams Anthracene Dull-Brown "R." Dissolve in 

I liter boiling ammonia water; after cooling, add 50 cu. cm. 

concentrated ammonia, filter, and the staining solution is 

ready for use. (For method of dissolving, see page 82.) 

No. 50-A. Manufacture of the Same with (Stock Solutions) 

300 cu. cm. Anthracene Dull-Brown "R" (stock solution), (100 

grams per liter), diluted with 
700 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 51. Quite Dark, Rich Red-Brown on Oak 

100 grams Anthracene Red-Brown. Dissolve in I 
liter boiling ammonia water; after cooling, add 50 cu. cm. 
concentrated ammonia water, filter, and the staining 
solution is ready for use. (For method of dissolving, see 
page 82.) 

No. 51-A. Manufacture of the Same with (Stock Solutions) 
Use the pure, undiluted stock solution of Anthracene Red-Brown, 
(100 grams per liter). 

No. 52. Gray Antique-Brown on Oak 

30 grams Anthracene Dull-Brown "D." Dissolve in 
I liter boiling ammonia water; after cooling, add 50 cu. cm. 



MORDANTING AND STAINING 85 

concentrated ammonia, filter, and the staining solution is 
ready for use. (For method of dissolving, see page 82.) 
No. 52-A. Manufacture of the Same with (Stock Solutions) 
30OCU. cm. Anthracene Dull-Brown "D" (stock solution), (100 

grams per liter), diluted with 
700 " " cold water. 

1000 cu. cm. = I liter staining solution ready for use. 

No. 53. Dark Brown on Oak 

100 grams Anthracene Dark-Brown. Dissolve in i 

liter boiling ammonia water; after cooling, add 50 cu. cm. 

concentrated ammonia, filter, and the staining solution is 

ready for use. (For method of dissolving, see page 82.) 

No. 53-A. Manufacture of the Same with (Stock Solutions) 

Use the pure, undiluted stock solution of Anthracene Dark-Brown, 

(100 grams per liter). 

No. 54. Dark, Yellowish Dull-Brown on Oak 

50 grams Anthracene Bronze-Brown. Dissolve in i 

liter boiling ammonia water; after cooling, add 50 cu. cm. 

concentrated ammonia, filter, and the staining solution is 

ready for use. (For method of dissolving, see page 82.) 

No. 54- A. Manufacture of the Same with (Stock Solutions) 

500 cu. cm. Anthracene Bronze-Brown (stock solution), (100 

grams per liter), diluted with 
500 " '* cold water. 

1000 cu. cm. = I liter staining solution ready for use. 
d. Anthracene Stains for Woods Containing Little Tannin 

No. 55. Rich, Dull Reddish-Brown 

50 grams Anthracene-Brown "RD." Dissolve in 
I liter boiling ammonia water; after cooling, add 50 cu. cm. 
ammonia; filter, and the staining solution is ready for use. 
(For method of dissolving, see page 82.) 



86 MORDANTING AND STAINING 

No. 55-A. Manufacture of the Same with (Stock Solutions) 
500 cu. cm. Anthracene-Brown "RD" (stock solution), (100 

grams per liter), diluted with 
500 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 56. Medium, Vivid Reddish-Brown 

40 grams Anthracene-Brown "2R." Dissolve in i 
liter boiling ammonia water; after cooling, add 50 cu. cm. 
ammonia; filter, and the staining solution is ready for use. 
(For method of dissolving, see page 82.) 

No. 56-A. Manufacture of the Same with (Stock Solutions) 
400 cu. cm. Anthracene-Brown "2R" (stock solution), (100 

grams per liter), diluted with 
600 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 57. Medium, Dull-Brown 

30 grams Anthracene-Brown "GR." Dissolve in i 
liter boiling ammonia water; after cooling, add 50 cu. cm. 
ammonia, filter, and the staining solution is ready for use. 
(For method of dissolving, see page 82.) 

No. 57-A. Manufacture of the Same with (Stock Solutions) 
300 cu. cm. Anthracene-Brown "GR" (stock solution), (100 

grams per liter), diluted with 
700 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 58. Medium, Dull Yellowish-Brown 

25 grams Anthracene-Brown ''2G." Dissolve in I 
liter boiling ammonia water; after cooling, add 25 cu. cm. 
ammonia, filter, and the staining solution is ready for use. 
(For method of dissolving, see page 82.) 



MORDANTING AND STAINING 87 

No. 58- A. Manufacture of the Same with (Stock Solutions) 

250 cu. cm. Anthracene- Brown "2G" (stock solution), (100 

grams per liter of water), diluted with 
750 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 59. Powerful, Dull-Brown 

40 grams Anthracene Bronze-Brown. Dissolve in I 
liter boiling ammonia water; after cooling, add 25 cu. cm. 
ammonia, filter, and the staining solution is ready for use. 
(For method of dissolving, see page 82.) 

No. 59-A. Manufacture of the Same with (Stock Solutions) 

400 cu. cm. Anthracene Bronze-Brown (stock solution), (100 

grams per liter), diluted with 
600 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 60. Medium Brown 

20 grams Anthracene Dark-Brown. Dissolve in i 
liter boiling ammonia water; after cooling, add 25 cu. cm. 
ammonia, filter, and the staining solution is ready for use. 
For method of dissolving, see page 82.) 

No. 60-A. Manufacture of the Same with (Stock Solutions) 

200 cu. cm. Anthracene Dark-Brown (stock solution), (100 grams 

per liter), diluted with 
800 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 
These sixteen formulas depict the possibilities of 
Anthracene stains, and it is easily perceivable that, by 
proper variation in the admixture and dilution thereof, a 
wide range of modern brown tones is obtainable. 

e. Special'Oak Stains, Liquid, and Ready for Use 

Special-Oak Stains I to XVII are intended for those 
who prefer a liquid stain ready for use. They are sold in 
highly concentrated form to save all possible expense of 



88 MORDANTING AND STAINING 

packing and freight, and for medium and light tones can 
be diluted with one to seven parts water. 

When diluting same, in addition to the requisite cold 
water, add 25 to 50 cu. cm. concentrated ammonia per 
liter of staining solution. 

Special-Oak stains are to be regarded as combined 
stains, for they contain both dyes and chemicals; hence 
the final tone obtained is almost entirely independent of 
the amount of tannin in the wood. All Special-Oak stains 
can be mixed with each other at will, and also combined 
with acetous aniline dyes for obtaining intermediary tones. 

Directions for Using the Special Oak Stains 

To the prepared oak surface, apply the staining so- 
lution very wet (in concentrated form, or properly diluted 
with cold water) ; after it has penetrated well into the wood, 
soften with softening-brush. When dry, rub surfaces 
lightly with fine sandpaper and matt in the usual manner. 
Special-Oak stains are also fitted for all other kinds of 
wood. 

Formulas 

No. 61. Light, Very Yellowish- Brown 

125 cu. cm. Special-Oak Stain "I," double concen- 
trated, diluted with 
825 " " cold water and 
50 " " concentrated ammonia added. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 62. Medium, Yellow-Brown 
250 cu. cm. Special-Oak Stain "II," double concen- 
trated, diluted with 
700 " " cold water and 
50 " " ammonia added. 



1000 cu. cm. = I liter staining solution ready for use. 



MORDANTING AND STAINING 89 

No. 63. Powerful, Reddish-Brown 

500 cu. cm. Special-Oak Stain "IV," double con- 
centrated, diluted with 
500 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 64. Rich, Dark Brown 

Stain with Special-Oak Stain "V," double concen- 
trated, without diluting. 

No. 65. Powerful, Dull Antique-Oak Brown 

500 cu. cm. Special-Oak Stain "VI," double concen- 
trated, diluted with 
500 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 66. Lighter Gray-Brown 

250 cu. cm. Special-Oak Stain "IX," double concen- 
trated, diluted with 
700 " " cold water and 
50 " " concentrated ammonia added. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 67. Light Smoke-Brown 

125 cu. cm. Special-Oak Stain "X," double concen- 
trated, diluted with 
825 " " cold water and 
50 " " concentrated ammonia added. 



1000 cu. cm. = I liter staining solution ready for use. 



90 MORDANTING AND STAINING 

No. 68. Medium, Dull Antique-Brown 

250 cu. cm. Special-Oak Stain "XIII," double con- 
centrated, diluted with 
700 " " cold water and 
50 " " concentrated ammonia added. 



1000 cu. cm. =: I liter staining solution ready for use. 
No. 69. Very Rich, Vivid Red-Brown 

Stain with Special-Oak Stain "XIV," double concen- 
trated, without diluting. 

No. 70. Black-Brown 

Stain with Special-Oak Stain "XV," double concen- 
trated, without diluting. 

Ebony Wood Imitations 

The simplest and surest process of staining wood black 
is by means of Nigrosine "T," in particles soluble in water, 
and Carbon-Black Stain "Z," liquid. ^ 

A. Black Staining with Nigrosine "T," Soluble 

in Water 

Dissolve 100 grams Nigrosine "T" in i liter boiling 
water; filter, and stain the wood very wet. To effect 
a sufficiently strong black, a second application may be 
necessary, but this should always be given on a thoroughly 
dry surface. 

B. Black Staining with Carbon Black Stain "Z," 

Liquid 

This liquid preparation, commercially ready for use, 
gives a good covering black with only one coat, applied 
very wet. 

Owing to its self-contained shellac, Carbon-Black 
Stain "Z" lessens the deep penetration into the wood of 



MORDANTING AND STAINING 9 1 

shellac subsequently applied, thus affording a highly-pol- 
ished surface in a minimum time. The solution can be 
kept for a long period. 

Intensifying the Black Stain 

In whatever manner the wood may be stained black, 
the subsequent application of shellac should contain an 
addition of Nigrosine or Lac-Black (soluble in alcohol), if 
a beautiful, rich and polished black surface is desired. 

For this purpose dissolve 30 grams Nigrosine or Lac- 
Black in I liter 95-96% alcohol, filter, and add to the 
shellac, according to need; or put some of the pulverized 
Nigrosine or Lac-Black on the damp polishing ball, wrap 
a linen cloth around it and polish in the usual manner. 
The dye, being dissolved by the polish from the ball, is 
strained through the linen cloth, and dyes the wood. 

For blue-black use Nigrosine, but for deep-black use 
Lac-Black to color the shellac. 

If the articles stained black are to be waxed, add to the 
molten wax a proper quantity of Olesole-Black "B" for 
blue-black, or Olesole-Black "BG" for deep-black, and stir 
until the entire mass is of uniform tone. Apply the wax 
with a cloth ; let it stand a day and brush with a medium- 
stiff brush until there is a dull polish. 

Should the surfaces be treated with a matting prepa- 
ration, e. g., Arti-Matt, it will give them greater hardness 
and the power of resistance to soap and water. 

Staining Wood Gray 

In the manufacture of gray stains there are three in- 
dividual cases to be considered: 

I. If such woods as oak, pear, elm and chestnut are to 
be stained, the operation is very simple, because 
these woods already contain an ingredient, viz., the 
tannin — for obtaining the various gray shadings. 
Hence, after sandpapering, it is only necessary to 
stain with a weak or strong solution of green vitriol 



92 MORDANTING AND STAINING 

in water. A light or dark gray, respectively, is 
gradually developed, assisted by the oxygen of 
the air. 

2. If the wood contains little or no tannin, as is the case 
with fir, pine, maple, etc., it is necessary to effect it 
artificially by applying a solution of tannin in water; 
when dry, stain with a solution of green vitriol. 

3. Woods containing no tannin can be stained with 
acetous aniline dyes, light-proof, which have the 
advantage of giving the desired stain after only one 
coat. By the proper admixture of Blue-Gray, 
Orange, Yellow and Green, all conceivable gray 
shades are obtainable. 

Gray Staining of Woods Containing Tannin by 
Means of Green Vitriol 

The depth of the gray stain produced by Green 
Vitriol is dependent upon the quantity of tannin contained 
in the wood and the strength of the vitriol solution used. 

As oak is very rich in tannin, by weakening or strength- 
ening the solution, all tones from light to dark can be 
obtained. 

But with ash and pear, a very strong solution pro- 
duces only a medium gray, and on maple, which contains 
but little tannin, the very strongest solution will give only 
a very light, delicate gray; for the amount of gray dye 
produced in the wood is limited by the quantity of tannin 
contained therein. 

Light, Yellowish-Gray on Oak 

Stain the well-sandpapered wood with a cold solution 
of 5 grams Green Vitriol in i liter of water. Let the stained 
articles be exposed freely to the air for a day. 

Medium Gray on Oak 
Stain the oak with a cold solution of 15 grams Green 
Vitriol in i liter of water and leave to the influence of the 
air for one or two days. 



mordanting and staining 93 

Rich Gray on Oak 

Stain with a cold solution of 15 grams Green Vitriol in 
I liter of water and subject the stained objects two or three 
days to the oxidizing effect of the air. 

This must be done in vitriol-staining all woods con- 
taining tannin, as the final tone cannot be determined until 
after several days of oxidizing. 

In one and the same kind of wood, the amount of 
tannin contained differs proportionately according to the 
age and origin of the wood ; therefore it is necessary to make 
preliminary tests with vitriol solutions of different strengths 
in order to determine which will obtain the desired result. 

If the solution used is of such strength that the desired 
tone develops within a few hours, great disappointment will 
be experienced when a considerably darker shade becomes 
apparent after several days, due to oxidization and the 
influence of the tannin upon the stain. 

In judging all gray stains produced by Green Vitriol, 
it must be taken into consideration that the bright bluish- 
gray tone obtained after twenty-four to forty-eight hours 
is not final, but becomes constantly darker and finally a 
dull, yellowish gray. 

Remark: Should the gray staining with Green Vitriol on wood 
containing tannin come out too dark or irregular, it can be remedied by 
applying a solution of 50 grams oxalic acid (saccharic acid) in i liter of 
hot water. Then wash the surfaces with water to remove the oxalic 
acid from the wood, after which they can be restained with aniline 
dyes according to the following formulas. 

Do not attempt to stain again with Green Vitriol, as it is impossible 
to remove all the oxalic acid from the wood; therefore regular staining 
with Green Vitriol is prevented. 

Gray Staining of Woods Containing Little 
Tannin by Means of Green Vitriol 

To give woods with little tannin the amount necessary 
for staining gray with Green Vitriol, apply first a weak 
or strong solution of tannin in water ; then stain with a 



94 MORDANTING AND STAINING 

solution of Green Vitriol in water, sufficient to give the 
desired tone. 

The gray stain develops gradually by the oxidizing 
effect of the air. It shows first as a bright bluish-gray, and 
becomes a dull gray after two or three days. 

The solutions of tannin and of Green Vitriol must 
always be freshly prepared, as they spoil after a few days 
even when kept in closed receptacles. 

Stains thus obtained are very fast to light and air, 
but still the color gradually darkens and becomes con- 
siderably yellower and dead. 

In general these methods are best for medium and 
dark grays. For lighter tones they are too uncertain, and 
therefore not to be recommended. 

Formulas 

Dark Gray on Woods Containing Little Tannin 

Saturate the wood with a hot solution of 50 grams 
tannin in i liter of water; when dry, apply a solution of 40 
grams Green Vitriol in i liter of water. 

The stain develops to its full depth after two days. 

Medium Gray on Woods Containing Little Tannin 

Saturate the wood with a hot solution of 30 grams 
tannin in i liter of water ; when dry, apply a solution of 20 
grams Green Vitriol in i liter of water. The stain develops 
to its full depth after two days. 

Remark: The use of solutions of Green Vitriol stronger than 40 
grams per liter may give very unfavorable results later, when the 
objects stained are put to actual use. 

Although they give very light-proof colors, stains with 
Green Vitriol have the following disadvantages which 
restrict their use: 

I. Light to dark tones are easily produced by these 
formulas, but it is almost impossible to obtain an 
exact previously-described tone; therefore the use 



MORDANTING AND STAINING 95 

of dyes is necessary, as described in chapter, "Gray 
Stains with AniHne Dyes." 

2. The final tone is uncertain and is influenced too much 
by the kind of wood, the amount of tannin contained 
and the purity of the tannin and Green Vitriol used. 

3. Its great disadvantage lies in darkening and be- 
coming duller and yellower if the objects stained 
with it have been already waxed and matted. 

Accordingly many cabinet-makers have discarded 
this process despite its advantages in favor of the one 
about to be described. 

Gray Stains with Aniline Dyes and Combined 

Stains 

The aniline dyes of the acetous group are best for 
producing light, medium and dark tones on woods con- 
taining little tannin, such as fir, pine, maple, alder, etc. 

Chief among them is Nigrosine, soluble in water, 
which can be shaded up or down with True- Yellow "G," 
Indol Blue-Green, New-Orange, and for very blue-gray, 
with Induline "W." These shading dyes render possible 
all tones of yellowish-gray, greenish-gray, reddish-gray 
and blue-gray. 

For staining oak the new Anthracene-Gray and liquid 
Special-Oak Stain "XI" have proven very excellent, as 
they penetrate the large and deep-lying pores of the oak 
much better than pure aniline dyes. 

Any shade can be obtained by the use of Anthracene- 
Gray and Special-Oak Stain "XI" in combination with 
the above acetous aniline dyes. 

For waxing, shellacking and matting of gray stains 
always use bleached wax and shellac and colorless matting 
(Arti-Matt White), as the tones are changed too much by 
yellow-colored preparations, and an ugly, yellowish reflex 
results. 



96 MORDANTING AND STAINING 

No. 71. Silver Gray on Maple or other Light 

Woods 

ID grams [Silver-Gray. Dissolve in i liter boiling 
water; when cool, filter, and the staining solution is 
ready for use. 

No. 7 1 -A. Manufacture of the Same with (Stock Solutions) 

200 cu. cm. Silver Gray, diluted with 

800 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 72. Light, Yellowish-Gray on Light-Colored 

Woods 

5 grams Nigrosine "T." Dissolve in i liter boiling 
water; when cool, filter, and the staining solution is ready 
for use. 

No. 72-A. Manufacture of the Same with (Stock Solutions) 

100 cu. cm. Nigrosine "T," diluted with 
900 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 73. Medium, Brownish-Gray on Woods Con- 
taining Little Tannin 

15 grams New Gray-Brown " G. " Dissolve in i liter 
boiling water; when cool, filter, and the staining solution 
is ready for use. 

No. 73-A. Manufacture of the Same with (Stock Solutions) 
300 cu. cm. New Gray-Brown "G," diluted with 
700 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 74. Dove-Gray 

15 grams Nigrosine, 
4 " Induline "W," 
I gram Indol-Blue. 



MORDANTING AND STAINING 97 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 74-A. Manufacture of the Same with (Stock Solutions) 
300 cu. cm. Nigrosine, 

80 " " Induline"W," 

20 " " Indol-Blue, diluted with 
600 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 75. Dark Gray 

48.5 grams Nigrosine and 

1.5 " Indol Blue-Green. 
Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 75-A. Manufacture of the Same with (Stock Solutions) 
970 cu. cm. Nigrosine, and 
40 " " Indol Blue-Green, 



1000 cu. cm. = I liter staining solution ready for use. 

No. 76. Dark Slate Blue-Green on Oak 

36 grams Induline "W," 
10 " Nigrosine, and 
4 " Indol Blue-Green. 
Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 76-A. Manufacture of the Same with (Stock Solutions) 
720 cu. cm. Induline "W," 
200 " " Nigrosine, 
80 " " Indol Blue-Green, 



1000 cu. cm. = I liter staining solution ready for use. 

No. 77. Light, Yellowish-Gray on Oak 

Dissolve 10 grams Anthracene-Gray in i liter boiling 
ammonia water; when cool, filter, and the staining solution 
is ready for use. 



98 MORDANTING AND STAINING 

For dissolving Anthracene stains, see page 82. 

No. 77-A. Manufacture of the Same with (Stock Solutions) 
100 cu. cm. Anthracene-Gray (100 grams per liter), diluted with 
900 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 78. Powerful, Medium-Gray on Oak 

Dissolve 30 grams Anthracene-Gray in i liter boiling 
ammonia water; when cool, filter, and the staining solution 
is ready for use. 

For dissolving Anthracene Stains, see page 82. 

No. 78-A. Manufacture of the Same with (Stock Solutions) 

300 cu. cm. Anthracene-Gray (100 grams per liter), diluted with 
700 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 79. Lighter, Brownish-Gray on Oak 

300 cu. cm. Special-Oak Stain '*XI," double concen- 
trated, liquid, diluted with 
700 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 80. Swamp-Oak Gray 

500 cu. cm. Special-Oak Stain '*XI," double concen- 
trated, liquid, diluted with 
500 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 81. Light, Blue-Gray on Oak 

6 grams Induline "W," 
0.5 gram Persio-Red. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 



MORDANTING AND STAINING 99 

No. 8 1 -A. Manufacture of the Same with (Stock Solutions) 

120 cu. cm. Induline " W," 

10 " " Persio-Red, diluted with 
870 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 82. Metallic Luster Stain. Light, Yellowish- 
Gray ON Oak with (Stock Solutions) 

A. 100 cu. cm. Nigrosine, 

3" " True- Yellow "G," 
3 " " New-Orange, diluted with 
694 " " water. 

800 cu. cm. 

B. Dissolve by rubbing 15 to 30 grams Aluminum- 
Bronze (10,000 fine), with 200 cu. cm. solution of gum 
(70 grams gum-arabic dissolved in 130 cu. cm. hot 
water). Now combine staining solution "A" with the 
pasty Aluminum-Bronze "B," pour the mixture into 
a bottle which can be corked, and shake until both are 
completely mixed. The staining solution is now ready 
for use. 

Stain the previously-sandpapered oak surface with 
this solution and soften with a large brush. Brush the 
still moist surfaces with a soft brush or rub with a woolen 
cloth. This distributes the Aluminum-Bronze evenly, and 
the entire surface has a shining metallized appearance. 
Articles so stained should then be waxed and treated with 
a colorless matting (Arti-Matt, white). 

The Metallic-Luster solutions can be kept a long 
time. They should be shaken vigorously each time before 
using, as a part of the aluminum settles to the bottom after 
standing. 

The formulas given above should be sufficient to 
enable any one to imitate any desired tone after a few 
experiments. 



100 MORDANTING AND STAINING 

In effecting light gray tones, the result is considerably 
influenced by the natural color of the wood, therefore all 
experiments should be made upon a piece of the same wood 
to be treated ; for one and the same solution may give a 
light, yellowish, reddish or quite dark tone, according to 
the natural color of the wood. 

Of course the changes due to subsequent shellacking, 
matting or waxing must be taken into consideration in 
determining the stain. 

Remark: All stains with Induline "W" show a reddish-bronze 
tone after drying. This completely disappears immediately after 
shellacking or waxing. 

Staining Wood Red 

The animal and vegetable dyes, such as dye-wood, 
sandalwood and cochineal, formerly used for producing 
red stains, find little application to-day, as the certainty of 
their results do not meet all requirements. 

In modern manufacture of various mahogany-red, 
Bordeaux-red and rose-colored stains, the brilliant and 
simple acetous aniline dyes are used almost exclusively; 
and of these dyes, New-Red and Persio-Red have proven 
best, owing to their easy solubility and light-proof qualities. 

To deaden and shade these brilliant red dyes, use 
Nigrosine, Induline "W" and New True-Green. By a 
proper mixture of the above dyes, or their stock solutions, 
any desired red can be produced upon wood. 

Formulas 

No. 83. Rich Crimson 

40 grams New-Red. Dissolve in i liter boiling water; 
when cool, filter, and the staining solution is ready for use. 

No. 83- A. Manufacture of the Same with (Stock Solutions) 
800 cu. cm. New-Red, diluted with 
200 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 



MORDANTING AND STAINING 1 01 

No. 84. Dark Bordeaux 

30 grams New- Red, 

10 " New True-Green, 

10 *' Nigrosine. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 84-A. Manufacture of the Same with (Stock Solutions) 
600 cu. cm. New-Red, 
200 " " New True-Green, 
200 " " Nigrosine. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 85. Amaranth Wood Imitation 

46.5 grams Persio-Red, 
I gram Nigrosine, 
2.5 grams New True-Green. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 85-A. Manufacture of the Same with (Stock Solutions) 

930 cu. cm. Persio-Red, 
20 " " Nigrosine, and 
50 " " New True-Green. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 86. Bright Bordeaux-Red 

40 grams Persio-Red. Dissolve in i liter boiling 
water; when cool, filter, and the staining solution is ready 
for use. 

No. 86-A. Manufacture of the Same with (Stock Solutions) 

800 cu. cm. Persio-Red, diluted with 
200 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 



102 MORDANTING AND STAINING 

No. 87. Brick-Red 

II grams New-Red, 
9 " New True-Green. 
Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 87-A. Manufacture of the Same with (Stock Solutions) 

220 cu. cm. New-Red, 

180 " " New True-Green, diluted with 

600 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 
No. 88. Dark-Red 

40 grams Walnut-Brown "R," 
30 " Mahogany-Red. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

Yellow and Orange Stains 

In the manufacture of yellow and orange stains, light- 
proof acetous aniline dyes are almost exclusively employed, 
as natural dyes (yellow-wood, flavine, etc.) are bothersome 
to use and do not compare in light-proof quality with the 
former. 

The ground-colors for all yellow and orange stains are 
New- Yellow and New-Orange. To shade and deaden these 
very brilliant colors, Nigrosine is used in proportionate 
quantities. 

Formulas 

No. 89. Candle-Wood Imitations 

2.5 grams New- Yellow, 
3 " New-Orange, 

0.5 " Nigrosine. 

Dissolve in I liter boiling water; when cool, filter, and 
the staining solution is ready for use. 



MORDANTING AND STAINING IO3 

No. 89-A. Manufacture of the Same with (Stock Solutions) 

50 cu. cm. New- Yellow, 

60 " " New-Orange, and 

10 " " Nigrosine, diluted with 
880 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 90. Leather- Yellow 

1.25 grams New- Yellow, 
2.50 " New-Orange, 
1.25 " Nigrosine. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 90-A. Manufacture of the Same with (Stock Solutions) 
25 cu. cm. New- Yellow, 
50 " " New-Orange, 
25 " " Nigrosine, diluted with 
900 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

Green and Olive-Green Stains 

Light-proof green and olive stains are obtained only 
with dyes of the acetous group, of which New True-Green 
and Indol Blue-Green best apply to this special purpose. 
New True-Green gives brilliant, yellowish-green tones and 
is used in combination with the likewise light-proof dyes. 
New- Yellow, New-Orange, Nigrosine and Induline "W," 
Nigrosine and New True-Green. 

Special-Oak Stain "XII," double "concentrated, 
liquid, and Anthracene Serpentine-Green Stain, pulver- 
ized, are best for staining oak, because of their penetration 
into the pores. These stains can be mixed at will with the 
aniline dyes. 

For simple and rapid manufacture of stains for the 
various green and olive tones, use the stock solutions of the 
dyes just mentioned, as explained on pages 40-44. 



I04 MORDANTING AND STAINING 

Formulas 

No. 91. Rich, Brilliant, Blue-Green 

50 grams Indol Blue-Green. Dissolve in i liter boiling 
water; when cool, filter, and the staining solution is ready 
for use. 

No. 9 1 -A. Manufacture of the Same with (Stock Solutions) 
Use the pure, undiluted stock solution of Indol Blue-Green. 

No. 92. Rich, Brilliant, Yellowish-Green 

50 grams New True-Green. Dissolve in i liter boiling 
water; when cool, filter, and the staining solution is ready 
for use. 

No. 92-A. Manufacture of the Same with (Stock Solutions) 
Use the pure, undiluted stock solution of New True-Green. 

No. 93. Dark, Olive-Green 

40 grams New True-Green, 
3 " New-Orange, 
7 " Nigrosine. 
Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 93-A. Manufacture of the Same wiht (Stock Solutions) 
800 cu. cm. New True-Green, 
60 " " New-Orange, 
140 " " Nigrosine. 



1000 cu. cm. = I liter staining solution, ready for use. 

No. 94. Medium-Olive 

20 grams New True-Green, 

4 " New-Orange, 

6 " Nigrosine. 
Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 



MORDANTING AND STAINING IO5 

No. 94- A. Manufacture of the Same with (Stock Solutions) 
400 cu. cm. New True-Green, 
80 " " New-Orange, 
120 " " Nigrosine, diluted with 
400 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 95. Black-Green 

40 grams New True-Green, 
30 " Indol Blue-Green, 
30 " Nigrosine. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 95- A. Manufacture of the Same with (Stock Solutions) 

400 cu. cm. New True-Green, 
300 " " Indol Blue-Green, 
300 " " Nigrosine, 



1000 cu. cm. =: I liter staining solution ready for use. 

No. 96. Medium Gray-Green 

10 grams New True-Green, 
10 " Induline "W." 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 96-A. Manufacture of the Same with (Stock Solutions) 

200 cu. cm. New True-Green, 

200" " Induline "W," diluted with 

600 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 97. Medium Green-Olive on Oak 

250 cu. cm. Special-Oak Stain "XII," double concen- 
trated, diluted with 
750 " " cold water. 



1000 cu. cm. = I liter staining solution ready for use. 



I06 MORDANTING AND STAINING 

No. 98. Rich, Dark-Gray on Oak 

Stain oak with undiluted Special-Oak Stain "XII," 
double concentrated. 

No. 99. Medium Serpentine-Green on Oak 

20 grams Anthracene Serpentine-Green dissolved in 
I liter boiling ammonia water; after cooling, mix with 50 
cu. cm. concentrated ammonia; filter, and the staining 
solution is ready for use. 

For method of dissolving Anthracene Stains see page 
82. 

No. 100. Dark Gray-Green on Oak 

80 grams Anthracene Serpentine-Green dissolved in 
I liter boiling ammonia water; after cooling, add 50 cu. cm. 
ammonia, filter, and the staining solution is ready for use. 

For method of dissolving Anthracene Stains see page 
82. 

For all green and olive stains only bleached shellac 
and color less matting (Arti-Matt, White) should be used. 

Blue and Violet Stains 

The acetous dyes producing blue and violet stains are : 
Azine-Blue, Indol-Blue, InduUne "W," Azine- Violet and 
Persio-Red. Azine-Blue gives brilliant greenish-blue tones, 
very fast to light, and is mixed with Azine-Violet to obtain 
pure blue and reddish-blue stains. 

For dull blue on wood, InduHne "W" combined with 
Indol-Blue is the best, as Azine-Blue (although possessing 
the greatest fastness to light of all blue dyes) has the dis- 
advantage of not penetrating deeply into the wood, and for 
particular tones does not give a uniform stain. 

Azine-Violet gives brilliant blue-violet stains, highly 
light-proof, being in this respect much superior to all other 
violet dyes. 



MORDANTING AND STAINING I07 

All dull blue-violet and red-violet tones are obtainable 
with a proper combination of Induline "W" and Persio- 
Red and are very fast to light. 

InduHne "W" alone or in combination with Indol- 
Blue is used for all dark blue stains. 

For easy and handy manufacture of blue and violet 
stains, use the stock solution described on pages 40-44, 

Remark: As Azine-Blue has very little power to penetrate into 
the wood when in cold solution, it should be made as hot as possible, 
applied only with a sponge, and then wiped off with the sponge squeezed 
out. 

Formulas 

No. loi. Medium, Bright Greenish-Blue 

40 grams Azine-Blue. Dissolve in boiling water as 
free as possible from lime (condensed water, or water a long 
time boiled) ; when cool, filter, and the staining solution is 
ready for use. 

Apply as hot as possible with a sponge; then wipe off 
with the sponge squeezed out. 

No. loi-A. Manufacture of the Same with (Stock Solutions) 

800 cu. cm. Azine-Blue, diluted with 
200 " " boiling water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 102. Medium, Dull-Blue 

13 grams Induline ''W," 
2 " Indol-Blue. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 102-A. Manufacture of the Same with (Stock Solutions) 

260 cu. cm. Induline "W," and 
40 " " Indol-Blue, diluted with 
700 " " water. 

1000 cu. cm. = I liter staining solution ready for use. 



I08 MORDANTING AND STAINING 

No. 103. Dark Blue 

43 grams Induline "W," 

7 " Indol-Blue. 
Dissolve in I liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 103-A. Manufacture of the Same with (Stock Solutions) 
860 cu. cm. Induline "W," 
140 " " Indol-Blue. 



1000 cu. cm. =:= I liter staining solution ready for use. 

No. 104. Medium, Dull Red- Violet 

6 grams Induline "W," 
6 " Persio-Red. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 104-A. Manufacture of the Same with (Stock Solutions) 
120 cu. cm. Induline "W," 
120 " " Persio-Red, diluted with 
760 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

No. 105. Amaranth- Violet 

20 grams Persio-Red, 
10 " Nigrosine. 

Dissolve in i liter boiling water; when cool, filter, and 
the staining solution is ready for use. 

No. 1 05- A. Manufacture of the Same with (Stock Solutions) 
400 cu. cm. Persio-Red, 
200 " " Nigrosine, diluted with 
400 " " water. 



1000 cu. cm. = I liter staining solution ready for use. 

Remark: All blue and violet stains in which Induline "W," 
Azine-Blue and Azine- Violet are used, when dry show a reddish-bronze 
tone with light and medium shades, but this disappears after subse- 
quent shellacking, matting or waxing. 



MORDANTING AND STAINING IO9 

In the shellacking, varnishing or matting of bright 
blue and violet-stained surfaces, use only bleached and 
colorless preparations, as those of yellowish tone will turn 
the original color to green. 

A slight change in the original tone is, however, una- 
voidable, no matter what conditions prevail, for all blue 
stains become greener and all violet colors somewhat bluer. 

These changes must be taken into consideration in 
judging the color beforehand. 



Water-Proof and Washable Wood Stains 

(OxiDiNE Stains) 

Famous architects in interior construction have come 
to the author with the request that he evolve and publish 
some means of staining domestic woods so that they would 
be practically water-proof without the use of coats of pro- 
tecting varnish. The only former requirement in wood- 
staining was fastness to light, — the property of being wash- 
able or proof to water not coming into question, as the coat 
of solid varnish protected sufficiently the stained articles 
from the soap and water with which they were washed. 

Modern architects sought to avoid the necessity of 
this varnish application, for they reasoned rightly that 
even a light coat was injurious and destroyed the ideal 
beauty of the wood. 

The author thereupon began to test the tones obtained 
by various methods of staining for their fastness to water. 
His results showed that only a comparative few met the 
requirements, and that in order to make possible a greater 
selection of water-proof colors it would be necessary to 
work out new staining formulas. 

The experiments were successful in so far as affording 
a rich choice of modern brown and gray-brown tones, but 
it was not possible to get bright colors in a large number. 
Therefore selection must needs be made from the already- 



no MORDANTING AND STAINING 

known and the newly-evolved formulas, in order to produce 
stains which will most nearly effect the desired color tones. 

If water or soap is spattered on a stained surface and 
dries in a spot, the result is the same as on a pane of glass 
or a mirror, — the dust gathered at the place of the water- 
drop and the dissolved soap remain after the water has 
evaporated. Spots are easily removable from stained sur- 
faces with a slightly-damp cloth, but this cannot be done 
with soap and water spots on waxed and matted surfaces. 

The formulas for "water-proof and washable wood- 
stains" have won highest commendation and are success- 
fully employed in many of the largest furniture factories. 

Their practical value lies not only in the fact that the 
colors obtained are water-proof and washable, but the 
tones in themselves are of exceeding beauty. Excellent 
results are obtained even on beech, which is very hard to 
stain properly, thus making possible its satisfactory sub- 
stitution for the much more expensive oak wood, etc. 

Furniture stained with these oxidine stains may be 
treated in the usual manner with shellac or matting, but 
no varnish is necessary, although if desired a very light coat 
may be applied. 

General Remarks Concerning Water-Proof and 
Washable Wood Stains 

If our modern living-rooms are to be stained without 
the usual subsequent application of shellac, matting or wax, 
the stain must be water-proof in order that occasional 
cleansings with wet cloths or weak soapsuds will not fade 
noticeably or change the original tone. But this is not the 
only requirement. It must be proof against the destructive 
effect of light and air, and able to withstand the rubbing 
and knocking of ordinary usage without wearing through 
at the corners and edges. 

As a result of these strict requirements, stains previ- 
ously used for this purpose are no longer practicable. 



MORDANTING AND STAINING III 

In the manufacture of stains, only such formulas can 
be used as will produce a dye insoluble in soap or water 
when two or more chemicals are subsequently employed; 
this must lodge in the cells of the wood, producing a certain 
designated tone. 

These formulas therefore embody purely chemical 
processes, and are based on the capacity of a number of 
chemicals to form a colored, insoluble precipitate (dye). 

The procedure with formulas dependent upon the pre- 
cipitation of one or more chemicals is as follows : 

Put in solution the chemical to be used, then stain the 
wood (previously well sandpapered) in the usual manner. 
When the surfaces so grounded are perfectly dry, apply the 
second stain — the developing stain — for precipitating the 
chemical already in the wood. This developing stain may 
be in gaseous form (fuming with gaseous ammonia), or may 
be applied to the grounded surface in the usual liquid form. 
The precipitation results either at once or gradually, in the 
course of several hours to one day, according to the nature 
of the chemical used. 

General Rules for the Use of Precipitate Stains 

1. Apply the grounding stain with brush, sponge or 
woolen cloth, very wet, so that the upper layers of 
the wood are saturated with the solution. 

2. Allow sufficient time for thorough penetration, and 
do not begin to soften too soon, — an error likely to 
occur with very wet-stained surfaces. 

3. Now remove with a sponge or woolen cloth all 
superfluous stain which has not been absorbed by 
the wood. 

If the stain was applied with a brush, nevertheless 
use a sponge or cloth to soften it in preference to the 
softening-brush, which has less absorbability, and is 
more difficult to rid of the fluid taken up by it, in 
order to repeat the process. 



112 MORDANTING AND STAINING 

If a fresh sponge or cloth is used for this purpose, dip 
it in the staining solution and squeeze dry; for if 
softened in water, the first few strokes may wash off 
the dye from the surface, making its subsequent 
fixing of lighter tone. 

If superfluous stain is not removed from the surface, 
it dries, depositing chemical particles thereon, which 
in connection with the subsequently-applied de- 
veloping stain, form a colored precipitate detri- 
mental to the desired effect. Such a condition is 
remediable only by careful sandpapering. 

4. The developing stains should not be applied until 
the grounding stain is absolutely dry. In employing 
the liquid form thereof, omit sandpapering and apply 
the developing stain with the same care as the 
grounding stain itself. 

5. Before placing articles in the fuming-room, sand- 
paper gently; the grain is not raised by the fuming 
process. 

6. As most staining solutions have very little apparent 
color, extreme care should be taken that no corners 
or edges are left unstained; for such places show as 
white spots after the application of the developing 
stain and are difficult to remedy. 

7. Colorless or very weakly-colored grounding stains 
must be applied with the utmost care and regularity, 
as failure in this respect will mar later results. 

8. All brushes, sponges, cloths and receptacles used in 
staining or for keeping the solutions, must be care- 
fully cleansed, so that the contents will not be con- 
taminated by intermingling. 

9. The remains of stains which have been used should 
never be poured back into the receptacles, lest 
through contact with tannin or other chemicals they 
have become impure. 

All the general rules set forth in this book must be 
observed in using precipitate stains. 



MORDANTING AND STAINING II3 

If articles so stained are not to be varnished, sand- 
paper gently, and then brush with a bristle brush to 
heighten the surface polish. 

If varnish is desired, a very thin coat will suffice, as 
the stain in itself is resistant to water, soap and scouring. 

Advantages of Precipitate Stains 

1. Precipitate Stains are water-proof and do not re- 
quire varnishing. 

2. They are fast to light and air, being made from me- 
tallic salts. 

3. They effect dull, beautiful tones, filling all require- 
ments of modern good taste. 

4. They penetrate very deeply into the wood and in- 
tensify strongly its natural marking. 

5. Precipitate Stains give good results on all woods, 
and a uniform stain can be produced even on beech, 
(especially with the Precipitate Fumed Stains). 
Therefore it is possible to use this wood much more 
than formerly, both for furniture and interior 
finish. 

6. If articles are to be matted, a very light coat of 
varnish is sufficient. 

7. Furniture stained with oxidine stains is not visited 

by the wood-worm on account of the astringent odor 

of the metallic oxide deposited in the wood. 

Remark: If soap or water spots occur on unvarnished surfaces, 
they are easily removed with a damp cloth. 

The author deems it no disadvantage that the grain is 
slightly raised in the cleansing process, as the original 
polish may be restored by brushing with a bristle brush. 

The formulas for these water-proof and washable 
stains have been classified under three groupings to facili- 
tate comprehensive knowledge thereof. 



114 MORDANTING AND STAINING 

Precipitate Fumed Stains 

In the same manner that oak is fumed to produce an 
antique tone thereon, it is possible to stain all woods by 
applying metallic salts and subjecting to the fuming 
process, which fixes the hydroxides as colored precipitates, 
insoluble in water. 

In the fuming of oak, the tone varies in proportion to 
the quantity of tannin contained in the wood; but in 
stains produced by the effect of gaseous ammonia on 
metallic salts, the shading and depth of tone are deter- 
mined respectively by the kind of salts used and the 
amount thereof deposited in the wood by the grounding 
stain. 

Therefore, the latter process enables one to dependably 
effect the final tone by a proper choice of the metallic salts 
and the concentration or dilution of its solution used as 
grounding stain. The quantity of tannin is, however, also 
to be considered, as it combines with the metallic salts of the 
grounding stain and forms tannic metal oxides. 

This is the only reason why woods containing tannin 
come out darker when staining than woods without same. 
If dark tones are desired on woods containing little tannin, 
such as fir, maple, willow, etc., the requisite amount must 
be instilled artificially by a preliminary staining with a 
solution of 10 to 30 grams pyrogallic acid per liter of water 
before the application of the grounding stain. If, on the 
other hand, it is desired to give a light tone to woods. con- 
taining tannin, the grounding stain (metallic salts solu- 
tion) must be diluted with water before using. 

Should the stain come out too light, or for any reason 
be desired darker, apply to the fumed surfaces a propor- 
tionately strong solution of pyrogallic acid (5 to 20 grams 
per liter), so that the tannin metal oxide gradually forms 
and again fumes the article. 

If oak with uneven amounts of tannin has been 
stained, apply to the light places a solution of 5 to 10 grams 



MORDANTING AND STAINING II 5 

pyrogallic acid and then fume again; this will remove the 
irregularities. 

If very powerful tones are desired on woods containing 
but little tannin, the following method is advisable: 
Ground with the proper solution of metallic salts one board 
previously stained with a solution of 10 grams, one with 
20 grams, one with 30 grams pyrogallic acid, and one board 
not so stained; then fume all together. This experiment 
will show how much tannin is lacking. 

The various solutions of metallic salts (oxidine 
stains), used for grounding can be mixed at will for ob- 
taining intermediary tones. 

After articles are stained they may be sandpapered or 
given a dull polish with a brush. 

Furniture already in use, which has had the grain 
raised by washing or rubbing, can likewise be given its 
original polish in the same manner. 

Formulas 

No. 106. Medium, Yellowish Dull-Brown on Oak 

With a sponge or woolen cloth, stain the prepared 
sandpapered surfaces very wet with undiluted 

oxidine nickel stain, liquid. 

Allow sufficient time for its thorough penetration, then 
wipe the still wet surface with a well-squeezed sponge or 
staining cloth, squeezing frequently to rid it of the super- 
fluous stain absorbed. 

Let the objects stand at ordinary temperature for one 
day to dry; then sandpaper gently and place in the fuming 
room. (For small articles an air-tight wooden chest can 
be satisfactorily used.) 

On the floor place one or more saucers filled with com- 
mercial, concentrated ammonia (spirits of sal ammoniac), 
close tightly all windows and doors and leave the grounded 



Il6 MORDANTING AND STAINING 

objects twelve to twenty- four hours to the influence of 
the ammonia fumes. 

By the influence of gaseous ammonia on the Oxidine 
Nickel Stain a light to medium, very subdued dull-brown 
tone (according to the amount of tannin) is gradually de- 
veloped in the upper layers of the wood, and at the same 
time its marking is greatly intensified. Stains so obtained 
are water-proof and washable, and light-proof to a very 
high degree. 

If oak is stained too light, apply to the light places a 
solution of 10 to 15 grams pyrogallic acid, and then fume 
again. 

No. 107. Very Light Yellowish Dull-Brown on 
Woods Containing Little Tannin 

Stain these woods as described in Formula No. 106, 
with undiluted 

oxidine nickel stain, liquid, 

and fume twelve to twenty-four hours with gaseous am- 
monia. 

If desired by this process to produce on woods con- 
taining little tannin the same tone as on alder (containing 
medium amount of tannin), or on woods containing a 
medium amount of tannin, the same dark tone as on oak 
(large amount of tannin), — before applying the grounding- 
stain use a solution of 10 to 15 grams pyrogallic acid in 
I liter of water. 

But, on the other hand, if desired to obtain on woods 
containing little tannin the depth of tone used on oak 
(No. 106), before grounding with Oxidine Nickel Stain, 
apply a solution of 30 grams pyrogallic acid in i liter of 
water. 

The solution of pyrogallic acid must always be freshly 
prepared. 

The Oxidine Stain must not be applied until the 
pyrogallic acid is dry. 



MORDANTING AND STAINING II 7 

No. io8. Medium, Reddish Dull-Brown on Oak 

Stain the previously well-sandpapered objects with 
undiluted Oxidine Cobalt Stain, liquid, as in Formula No. 
1 06; fume after they have dried twelve to twenty-four 
hours. 

All data and explanation in Formula No. 106 are equally applicable 
here. 

No. 109. Medium, Reddish Dull-Brown on Woods 
Containing Little Tannin 

Ground these woods with a solution of 10 grams pyro- 
gallic acid per liter of water; when dry, apply undiluted 
Oxidine Cobalt Stain, liquid, as described in Formula 
No. 106; dry, and fume twelve to twenty-four hours with 
gaseous ammonia. 

No. 1X0. Light, Reddish Dull-Brown on Woods 
Containing Little Tannin 

Stain these woods with undiluted 

oxidine cobalt stain, liquid, 
as described in Formula No. 106, and fume the stained and 
dried objects twelve to twenty-four hours with gaseous 
ammonia, after they have been sandpapered. 

No. III. Medium, Gray Olive-Brown on Oak 

Stain the sandpapered objects with a solution of }/i, 
liter Oxidine Copper Chloride Stain "Z," liquid, diluted 
with yi, liter water, as described in Formula No. 106, and 
fume the so grounded objects after drying twelve to twenty- 
four hours. 

All data and explanation in Formula No. 106 are equally applicable 
here. 

Remark: In all stains in which Oxidine Copper-Chloride Stain 
"Z" alone or mixed with other oxide stains is used, the tone obtained 
by fuming becomes more and more brown for a week, as the ammonia 
in the wood evaporates. This does not happen if the furniture is 
matted immediately. 



Il8 MORDANTING AND STAINING 

Special care should be taken with Oxidine Copper-Chloride Stain 
"Z" to wipe the surface off dry, for if the superfluous stain dries 
there, a patina-like greenish deposit is left during the fuming; this not 
only injures the structure of the wood, but it is very difficult to remove. 

No. 1X2. Medium, Gray Olive-Brown on Woods 
Containing Little Tannin 

Ground these woods with a solution of lo grams 
pyrogallic acid per liter of water; when dry, apply a solu- 
tion of Yl liter Oxidine Copper Chloride Stain "Z," 
liquid, diluted with Yi liter of water; sandpaper after dry- 
ing, and fume twelve to twenty-four hours with gaseous 
ammonia, as described in Formula No. io6. 

No. 113. Lighter, Greenish-Gray on Woods Con- 
taining Little Tannin 

Stain these woods, as described in Formula No. 106, 
with a solution consisting of Yi liter Oxidine Copper 
Chloride Stain "Z," liquid, diluted with Yi liter water; 
sandpaper after drying and fume twelve to twenty-four 
hours with gaseous ammonia. (See remark at Formula 
No. III.) 

No. 114. Medium, Dull Light-Brown on Oak 

Stain previously-sandpapered objects with pure, un- 
diluted 

OXIDINE chrome STAIN "k," LIQUID, 

as described in Formula No. 106; when dry, sandpaper, 

and fume twelve to twenty-four hours. 

All data and explanation in Formula No. 106 are equally applicable 
here. 

No. 115. Light, Dull-Brown on Woods Containing 

Little Tannin 

Ground these woods with a solution of 10 grams pyro- 
gallic acid in i liter of water; coat after drying with un- 
diluted 



MORDANTING AND STAINING II 9 

OXIDINE CHROME STAIN "K," LIQUID; 

when dry, sandpaper, and fume twelve to twenty-four 
hours with gaseous ammonia. 

No. ii6. Lighter, Dull-Yellow on Woods Contain- 
ing Little Tannin 
Stain these woods, as described in Formula No. io6, 
with pure, undiluted 

OXIDINE CHROME STAIN "K," LIQUID; 

when dry, sandpaper, and fume twelve to twenty-four 
hours with gaseous ammonia. 

No. 117. Medium Dull-Brown on Oak 
Stain objects sandpapered in the usual manner with 
pure, undiluted 

OXIDINE CHROME STAIN ''c," LIQUID, 

as described in Formula No. 106; when dry, sandpaper, 
and fume twelve to twenty-four hours. 

All data and explanation in Formula No. 106 are equally applicable 
here. 

No. 118. Medium Bice-Brown in Woods Containing 

Little Tannin 
Ground these woods with a solution of 10 grams pyro- 
gallic acid in i liter of water; when dry, stain with undi- 
luted 

OXIDINE chrome STAIN "C," LIQUID; 

when dry, sandpaper, and fume twelve to twenty-four 
hours with gaseous ammonia. 

No. 119. Quite Light, Delicate Bice Color on Woods 
Containing Little Tannin 
Stain these woods with undiluted 

OXIDINE CHROME STAIN "C," LIQUID, 

as described in Formula No. 106; when dry, sandpaper, 
and fume twelve to twenty-four hours with gaseous 
ammonia. 



120 MORDANTING AND STAINING 

No. 120. Medium, Dull-Brown on All Kinds of Wood 

Ground the previously-sandpapered wood with a 

freshly-prepared solution of 50 grams of pyrogallic acid in 

I liter water; dry, sandpaper, and fume twenty-four hours. 

All data and explanation in Formula No. 106 are equally applicable 
here. 

No. 121. Dark, Gray-Brown on Oak 
Stain the sandpapered objects with pure, undiluted 

OXIDINE iron mordant, LIQUID, 

as described in Formula No. 106; when dry, sandpaper, 
and fume twelve to twenty-four hours with gaseous 
ammonia. 

All data and explanation in Formula No. 106 are equally applicable 
here. 

No. 122. Medium, Gray-Brown on Woods Containing 

Little Tannin 

Ground these woods with a solution of 10 grams pyro- 
gallic acid in i liter of water; coat after drying with un- 
diluted 

OXIDINE IRON MORDANT, LIQUID; 

when dry, sandpaper, and fume twelve to twenty-four 
hours with gaseous ammonia. 

No. 123. Medium, Rust-Brown on Woods Containing 

Little Tannin 

Stain these woods with undiluted 

OXIDINE IRON MORDANT, LIQUID, 

as described in Formula No. 106; when dry, sandpaper, 
and fume twelve to twenty-four hours with gaseous am- 
monia. 

No. 124. Dark Brown on All Kinds of Wood 

Ground the sandpapered wood with a freshly-prepared 
solution of 50 grams pyrogallic acid in i liter water; when 



MORDANTING AND STAINING 121 

dry, apply Yi liter Oxidine Copper Chloride Stain "Z,\ 
liquid, diluted with Yi liter water, taking great care that 
all superfluous stain is wiped off with a well-squeezed 
staining sponge. Sandpaper after drying and fume twelve 
to twenty-four hours. 

All data and explanation in Formula No. io6 are equally applicable 
here. 

No. 125. Black-Brown on All Kinds of Wood 

Ground the previously-sandpapered objects with a 
freshly-prepared solution of 50 grams pyrogallic acid in 
I liter water; when dry apply 350 cu. cm. Oxidine Iron 
Mordant, liquid, diluted with 650 cu. cm. water. Let 
the objects dry freely for one day, during which time a 
dark gray tone develops; then fume twenty-four hours. 

All data and explanation in Formula No. 106 are equally applicable 
here. 

Precipitate Stains Whose Final Tone is Obtained by 

Successive Staining with Aqueous Solutions of 

Two Appropriate Chemicals 

If a wood surface is stained with the aqueous solution 
of an appropriate chemical and the superfluous stain re- 
moved with a well-squeezed sponge, the gradual evapora- 
tion of water serving as a solvent deposits the dissolved 
chemical substance between the cells in the outer layers of 
the wood while it is drying. 

If a wood surface is stained with the aqueous solution 
of a chemical producing a colored precipitate or dye (in- 
soluble in water), it is likewise deposited between the 
cells, giving a characteristic coloring whose tone is depend- 
ent upon the chemicals used and their effect upon each 
other. 

Thus the upper layers of the wood are dyed to the 
depth to which the staining solutions have penetrated. As 
the dye produced in this manner is insoluble in water and 



122 MORDANTING AND STAINING 

in weak solutions of soap-suds, the stained surfaces are 
water-proof and washable. They are also light-proof to a 
very high degree. 

No. 126. Powerful Red-Brown on All Kinds of Wood 

75 grams Catechine "3R" boiled one-quarter of an 
hour in i liter of water. Filter and add water again until 
there is i liter. 

Stain the well-sandpapered objects with this solution, 
removing all superfluous stain with a well-squeezed sponge 
or staining cloth ; after drying, coat the surfaces so grounded 
with Antique-Oak Stain "K," liquid. The final reddish- 
brown tone is developed in a few hours. 

When dry, sandpaper or brush gently in order to give 
a dull polish. 

These objects are now washable, water and light-proof, 
and can be put to practical use without any coat of var- 
nish; but if desired, they may be shellacked or matted. 

No. 127. Powerful, Reddish Dark-Brown on All 

Kinds of Wood 
Ground the wood with a decoction of 75 grams Cat- 
echine "NS," as described in Formula No. 126, and coat 
after drying with Antique-Oak Stain "L," liquid. The 
final dark brown tone is developed in a few hours. 

No. 128. Medium Dull-Brown on All Kinds of Wood 

Stain the previously sandpapered wood with a solution 
of 50 grams pyrogallic acid in i liter of hot water; when 
dry, apply a solution of 50 grams Potassium Chromate in 
I liter of hot water. The final dull brown tone is devel- 
oped in a short time. 

All data and explanation in Formula No. 126 are equally applicable 
here. 

No. 129. Greenish-Blue on All Kinds of Wood 

Ground the sandpapered objects with a solution of 
500 cu. cm. Oxidine Ferrocyanide Stain, liquid, diluted 



MORDANTING AND STAINING 1 23 

with 500 cu. cm. water; remove superfluity with staining 
sponge well squeezed. After drying, apply a solution of 
34 liter Oxidine Iron Mordant, liquid, diluted with M 
liter water. The final dull blue tone is produced almost 
immediately. 

All data and explanation in Formula No. 126 are equally applicable 
here. 

Remark: Should the stain result too light, repeat the above 
process, grounding again with Oxidine Ferrocyanide and applying 
Oxidine Iron Mordant. 

Sulphamine Stains 

Sulphamine has the property of forming a dye in com- 
bination with various metallic salts, giving a yellow, 
brown, red or green color (according to the metallic salt 
used), which is absolutely insoluble in water, and there- 
fore water-proof and resistant to weak solutions of soap- 
suds. 

Stains made with Sulphamine and Oxidine Copper 
Chloride Stain "Z" are especially light-proof, while the 
yellow and green stains made with Sulphamine and Oxi- 
dine Nickel Stain, and with Sulphamine and Pyrolignite of 
Iron are light-proof to a lesser degree. 

By a proper combination of Sulphamine and two 
different metallic salts, in varying ratios, the several 
intermediary tones can be produced. If the Sulphamine 
were mixed with only one of the metallic salts mentioned 
above, the stain, which should not form until it is In the 
wood, would assemble In the solution, thus making a body 
color, absolutely unavailable for staining, which would not 
penetrate into the wood. 

In order to prevent this, add an appropriate volatile 
acid, preferably formic acid, to the Sulphamine solution, 
and do not add the metallic salt solution until the prepara- 
tion has cooled completely. 

By staining with this solution (Sulphamine formic 
acid and the proper metallic salt), there Is gradually de- 



124 MORDANTING AND STAINING 

veloped in the wood as the volatile formic acid evaporates, 
a dye which is produced in twenty-four to forty-eight 
hours, as the case may be. 

This new Sulphamine Metallic Oxide Stain is depos- 
ited in the upper layers of the wood as far as it penetrates, 
and gives it a characteristic water-proof and washable 
stain. 

No. 130. Rich, very Yellowish, Light-Brown 

60 grams Sulphamine dissolved in i liter hot (not 
boiling) water and then filtered. Add 25 cu. cm. formic 
acid, and after it has completely cooled add 120 cu. cm. 
Oxidine Nickel Stain, liquid. 

The staining solution is now ready for use and should 
be applied very wet with a sponge or woolen cloth to the 
previously-sandpapered wood. 

Allow sufficient time for its thorough penetration; 
then remove the superfluous stain with a well-squeezed 
sponge or cloth. 

Let articles so stained stand for two hours; then stain 
again exactly as before. Now let stand two days, during 
which time the formic acid completely evaporates and the 
final tone is developed. 

They should now be gently sandpapered or brushed, 
and may be put to practical use without any coat of var- 
nish; but if desired, may be matted or polished. 

For lighter tones, dilute the staining solution with 
cold water and then stain twice, as above. 

For darker tones, stain a third time, after an interval 
of about two hours. 

Remarks: The solutions of Sulphamine Stains should always be 
applied cold. 

A second application of the stain after an interval of about two 
hours is always to be recommended. 

To hasten the development of the final tone, put the stained arti- 
cles in a warm room, thus hastening the evaporation of the formic acid. 



^ 



V 



MORDANTING AND STAINING 1 25 

Solutions should always be freshly made; they may be kept a 
maximum of two to three days in bottles or stone jars in a cool place, 
care being taken that the receptacles are well closed and that tight- 
fitting cork stoppers are used. 

No. 131. Powerful, Yellow-Brown on All 
Kinds of Wood 

60 grams Sulphamine dissolved in i liter hot (not 
boiling) water and then filtered. Add 25 cu. cm. formic 
acid, and after this has cooled completely, add 60 cu. cm. 
Oxidine Copper Chloride Stain "Z," liquid. 

The solution is now ready for use. Stain the previous- 
ly-sandpapered wood at intervals of about two hours and 
let the articles stand two days, during which time the final 
tone is developed. 

All data and explanation given in Formula No. 130 are equally 
applicable here. 

No. 132. Mahogany-Red for All Kinds of Wood 

60 grams Sulphamine dissolved in i liter hot (not 
boiling) water and then filtered. Add 25 cu. cm. formic 
acid, and after this has completely cooled add 120 cu. cm. 
Oxidine Cobalt Stain, liquid. 

The solution is now ready for use. Stain the previ- 
ously-sandpapered wood at intervals of about two hours, 
and let stand for two days. During this time the final 
reddish tone is developed. 

All data and explanation given in Formula No. 130 are equally 
applicable here. 

No. 133. Dull, Yellowish-Green for Woods 
Containing Little Tannin 

60 grams Sulphamine dissolved in i liter hot (not 
boiling) water and then filtered. Add 25 cu. cm. formic 
acid, and after this has completely cooled add 40 cu. cm. 
pyrolignite of iron. 



126 MORDANTING AND STAINING 

The solution is now ready for use. Stain twice, leav- 
ing a two-hours' interval, and let stand two days for the 
final development of the tone. 

All data and explanation given in Formula No. 130 are equally 
applicable here. 

Black for All Kinds of Wood 

An absolutely water-proof, washable and light-proof 
black is obtained by staining with an aniline stain (not 
aniline dye). 

Aniline salt has the property of combining with copper 
and chrome salts and forming an absolutely acid-proof and 
light-proof black in the pulp of the wood, which is practi- 
cally indestructible. 

Dissolve 300 grams aniline salt in i liter hot water 
and add 20 cu. cm. Copper-Chloride Stain "Z." 

Stain the wood with this solution while it is still hot; 
when dry, apply a solution of 50 grams sodium chromate 
in I liter of water; again dry in a very warm room, pref- 
erably near a stove. 

The coloring, a bright yellow-orange at the start, 
gradually turns to a dark green and finally into black. 

If the stain is not powerful enough, the entire process 
must be repeated. 

To intensify the black tone, rub the dry surfaces with 
a woolen cloth and linseed oil and let dry for two days. 
Linseed oil is a powerful conveyer of oxygen. It takes it 
from the air and adds it to the aniline salt stain, making it 
much stronger. 

Aniline salt stains must always be freshly prepared, 
because in long standing the formation of black takes 
place in the solution before it is applied to the wood. 

B. Turpentine Stains and Turpentine Wax Stains 

Turpentine stains are solutions of aniline (Olesole) 
dyes, soluble in oil or turpentine. 



MORDANTING AND STAINING 1 27 

Turpentine-wax stains are the same, but they contain 
more or less beeswax, which is also dissolved in the turpen- 
tine. 

Turpentine and turpentine-wax stains possess two 
properties of important worth to cabinet-makers : 

1. They do not raise the grain of the wood, thus ren- 
dering supplementary sandpapering unnecessary. 
(With supplementary sandpapering there is always 
more or less danger that the stain will be rubbed 
through unless the work is very carefully done.) 

2. They penetrate the wood very slowly, thus insuring 
a uniformity of tone, especially on large surfaces. 

These are, however, offset by a great disadvantage, — 
their slight capacity of resistance to light and air. This is 
a decided disqualification, inasmuch as no method of pre- 
vention is known; for there are no dyes combining the 
properties of perfect solubility in turpentine and fastness 
to light, — the last an essential requisite of all wood stains 
because of the long periods of usage given wooden objects 
and fittings. 

Of turpentine stains, those made with Olesole Black 
"B," Olesole Black "BG" and Olesole Blue are the most 
light-proof. 

Complaints relative to fading of stained furniture 
will continue as long as turpentine and turpentine-wax 
stains are used. 

The higher cost of turpentine stains (due to the high 
price of the turpentine itself) as compared to that of water- 
stains is a further disadvantage. 

(a) Turpentine Stains 

Turpentine stains are easily prepared. Place the 
proper amount of Olesole dye in a receptacle containing 
turpentine; put the receptacle in a pan of hot water and 
stir constantly until the dye is dissolved ; then filter through 
a thin-meshed cotton cloth. Turpentine should not be 
heated over an open flame, on account of combustibility. 



128 MORDANTING AND STAINING 

Formulas 

No. 134. Oak-Brown 

Dissolve 10 grams Olesole Oak-Brown in i liter hot 
turpentine; filter, and the solution is ready for use. 

No. 135. Dark Oak-Brown 

Dissolve 20 grams Olesole Antique-Oak Brown in i 
liter hot turpentine ; filter, and the solution is ready for use. 

No. 136. Walnut- Brown 

Dissolve 40 grams Olesole Walnut-Brown in i liter 
hot turpentine; filter, and the solution is ready for use. 

No. 137. Light Mahogany-Brown 

Dissolve 30 grams Olesole Magohany-Brown "H" in 
I liter hot turpentine; filter, and the solution is ready for 
use. 

No. 138. Dark Mahogany 

Dissolve 50 grams Olesole Mahogany-Brown "D" in 
I liter hot turpentine; filter, and the solution is ready for 
use. 

No. 139. Mahogany-Red 

25 grams Olesole Mahogany-Brown "D" and 25 
grams Olesole Red, dissolved in i liter warmed turpentine; 
filter, and the solution is ready for use. 

No. 140. Bright-Red 

Dissolve 60 grams Olesole Red in i liter hot turpen- 
tine; filter, and the solution is ready for use. 

No. 141. Dull-Orange 

Dissolve 30 grams Olesole Orange in i liter hot tur- 
pentine; filter, and the solution Is ready for use. 



MORDANTING AND STAINING 1 29 

No. 142. Bright- Yellow 

Dissolve 40 grams Olesole Yellow in i liter hot turpen- 
tine; filter, and the solution is ready for use. 

No. 143. Green 

Dissolve 40 grams Olesole Green in i liter hot turpen- 
tine; filter, and the solution is ready for use. 

No. 144. Medium, Dull-Blue 

Dissolve 15 grams Olesole Blue in i liter hot turpen- 
tine; filter, and the solution is ready for use. 

No. 145. Gray 

Dissolve 10 grams Olesole Black "B" in i liter hot 
turpentine; filter, and the solution is ready for use. 

When dry, articles stained with turpentine stains often 
assume a greenish-bronze tone which disappears immediate- 
ly after treating with shellac, wax or matting. 

(b) Turpentine- Wax Stains 

Add 75 to 150 grams molten beeswax to the still hot 
solutions of Formulas Nos. 134 to 145, and mix well to- 
gether; this will give turpentine-wax stains immediately 
ready for use. 

Used bleached beeswax for light and bright colors, 
and yellow wax for dark tones, especially browns. 

Turpentine-wax stains deposit a thin coating of wax on 
the surface when staining, thus avoiding bronzing; and a 
dull polish may be given by brushing the dry surface. 

They possess less penetrability than pure turpentine 
stains, and in cold weather should always be heated before 
using in order to liquify the wax. 

All Olesole colors are sold in the shape of small, 
irregular particles. 

Remark: To clean vessels which have contained turpentine or 
turpentine-wax stains, use a warm solution of calcined (pulverized) 
soda and soap in water; then rinse with pure hot water. 



130 



MORDANTING AND STAINING 



C Alcohol Stains 

Alcohol stains, with the exception of the black stains 
(Nigrosine and Lac-Black), are not very fast to light, and 
though expensive, do not effect uniform tones; therefore 
their use for wood-staining proper is not to be commended. 
The cabinet-maker should consider them as auxiliary 
stains only, to darken or otherwise alter surfaces stained 
with water-stains or natural-colored woods. They may 
also be used to color shellac, lacs and mattings. 

In the manufacture of these stains, aniline dyes of the 
basic group are used exclusively, as they alone possess the 
easy solubility in alcohol which is required. 

They are as follows: 



Mahogany-Brown "H," soluble in alcohol, 

Mahogany-Brown "D," " " 

Mahogany-Red, " " 

Walnut-Brown, " " 

Oak-Brown, " " 

Antique-Oak Brown, " " 

Polish- Yellow, " " 

Chrysoidine, " " 

Oriole- Yellow, " " 

Safranine, " " " 

True- Rose, " " 

Methyl-Violet "2B," " " 

Methyl- Violet "R," " " 

Blue"R," " " 

Brilliant Chrystal Green, " " 

Silver-Gray, " " 

Brilliant Nigrosine, " " " 

Lac-Black, " " 

Induline, " " 



(light mahogany) 
(dark mahogany) 



' " " (tone of unbleached pol- 
ish) 

' " " (orange) 

' " " (greenish-yellow) 

' " " (bright red) 

' " " (bright rose) 

' " " (bright violet) 

" " (bright red- violet) 

' " " (pure blue) 

' " " (bluish-green) 

' " " (blue-gray) 

' " " (blue-black) 

' " " (deep black) 

' " " (dark blue) 

To make the solutions: 

Transfuse 5 to 30 grams of the above dye with i liter 
high per cent, alcohol (85 to 97%), stirring constantly, or 
dissolve cold and boil gently three to five minutes. Let 
cool, filter through cotton or filter-paper, and keep in 
closed receptacles for subsequent use. Filtering is abso- 



MORDANTING AND STAINING 131 

lutely necessary for alcohol stains, as nearly all dyes have 
small particles which are insoluble and must be removed. 
It is of the utmost importance that the alcohol be 
high per cent., for dyes are very difficult to dissolve in the 
adulterated product, and a considerable precipitate re- 
mains. 

Because of the high combustibility of alcohol, solutions 
containing it should not be heated over an open flame, but 
indirectly, by immersing the receptacle in boiling water. 

Light, medium and dark tones can be obtained by 
proper admixture, concentration or dilution of the staining 
solutions with high per cent, alcohol. 

In staining wood with alcohol-stains, the method of 
procedure is the same as with water-stains. The former, 
however, raise the grain less and are absorbed more quickly 
and in greater quantities by the pulp of the wood than the 
latter. 

Alcohol-stains should be applied cold and very regu- 
larly, as subsequent softening has little effect on account 
of the quick penetration into the wood. 

Surfaces stained with alcohol-stains have a greenish- 
bronze tone after drying, especially with powerful colors, 
but this disappears completely after the subsequent appli- 
cation of shellac, varnish, wax or matting. 

The solution of the above dyes (soluble in alcohol) 
may be kept an indefinite period. 

Formulas 

The formulas of alcohol-stains are included in the 
following chapter. In place of the shellac or alcohol var- 
nish mentioned there, always use the same quantity of 
95 to 97% alcohol for dissolving the dye* 



132 MORDANTING AND STAINING 

The Staining of Shellacs, Mattings and Alcohol 

Varnishes with Aniline Stains (Alcohol Stains) 

Soluble in Alcohol 

This method is frequently employed in order to en- 
liven the coloring of wood already stained or to effect a 
shade or depth of tone not always attainable with water- 
stains alone. 

Coloring the shellac invariably accompanies black 
staining, for it is almost impossible to produce a deep, 
beautiful and lustrous black by staining only. 

To color shellac and alcohol varnishes for black stain- 
ing (ebony-wood imitations) use exclusively: 

Nigrosine for blue-black and Lac-Black for deep 
black. 

When shellacking, matting and varnishing articles 
stained brown, and natural-colored precious woods, such as 
mahogany and walnut, stain the preparation to be used 
with a slight quantity of aniline stain in order to impart a 
warmer, brighter and richer tone. The following basic 
dyes are best fitted for brown stains : 

Mahogany-Brown "H" and "D," soluble in alcohol. 

Mahogany-Red, " 

Walnut-Brown, 

Oak-Brown, 

Antique-Oak Brown, " 

Chrysoidine, 

For red, blue, violet, green, olive and gray staining 
the basic dyes used for alcohol stains can be used. The 
coloring of shellac or simpler preparations, consists merely 
of dipping the damp polishing ball in a dish containing 
pulverized dye and then wrapping a linen cloth over it. 

The shellac, penetrating the polishing ball, dissolves 
the dye (which is gradually strained through the linen 
cloth during use), and thus stains the wood. 



MORDANTING AND STAINING 1 33 

Except with black, this should not be done until after 
the ground polishing, else the surfaces may be stained ir- 
regularly. 

As aniline dyes, with the exception of blacks, are not 
very fast to light, this method of color-polishing is not 
greatly to be recommended; nevertheless there is no ob- 
jection to its use for enlivening and brightening natural- 
colored woods or those stained with water-stains. When 
the small amount of dye so used has faded, the water- 
stain or the natural color of the wood still remains, and the 
change is not very noticeable. 

For staining alcohol varnishes proceed as follows: 

1. Dissolve 20 to 30 grams of the proper aniline dye 
in I liter of high per cent, alcohol (95 to 97%) ; when dis- 
solved, filter through a fine-meshed cotton cloth and add 
this solution according to need to the colorless alcohol 
varnish or matting until it possesses the desired color. 

It is very important that only high per cent, alcohol 
be used, as most dyes are hard to dissolve in alcohol diluted 
with water, not to mention the fact that the water causes 
the varnish to lose its luster and makes it difficult to work. 

2. Usually the aniline dye is added directly to the 
varnish and there dissolved. 

The varnish is ready for use after being filtered through 
paper or felt. This is absolutely necessary, as no dye is 
soluble without leaving an insoluble precipitate. These 
insoluble particles cause spots, rendering impossible a 
lustrous, mirror-like surface. 

Every cabinet-maker who places any stress upon good 
work should treat objects thus shellacked, matted or var- 
nished with another coat of the same uncolored ; for all the 
basic dyes soluble in alcohol which are used (with the ex- 
ception of the blacks) are also soluble in water. Thus, 
objects which have no such protecting coat are liable to 
lose their color subsequently when they come in contact 
with damp cloths, etc. 



134 MORDANTING AND STAINING 

Formulas for Staining Shellacs, Alcohol Varnishes 

and Mattings 

Remark: The figures and amounts given in the following for- 
mulas refer to their use for rough, unstained wood; much smaller 
quantities should be used for woods already stained with water-stains. 

No. 146. Light Oak- Brown 

3 grams Light Oak-Brown dissolved in i liter of 
shellac or alcohol varnish. 

No. 147. Antique-Oak Brown 

4 grams Antique-Oak Brown dissolved in i liter 
shellac or alcohol varnish. 

No. 148. Walnut- Brown 

10 grams Walnut-Brown dissolved in i liter shellac 
or alcohol varnish. 

No. 149. Dark-Mahogany 

12 grams Mahogany- Brown "D" dissolved in i liter 
shellac or alcohol varnish. 

No. 150. Mahogany- Red 

12 grams Mahogany-Red dissolved in i liter shellac 
or alcohol varnish. 

No. 151. Light-Mahogany 

6 grams Mahogany-Brown "H" dissolved in I liter 
shellac or alcohol varnish. 

No. 152. Color of Unbleached Shellac 

I gram Polish Yellow dissolved in i liter shellac or 
alcohol varnish. 

No. 153. Lemon-Yellow 

10 grams Oriole- Yellow dissolved in i liter shellac or 
alcohol varnish. 



MORDANTING AND STAINING 1 35 

No. 154. Bright, Blue-Green 

10 grams Brilliant-Green dissolved in i liter shellac or 
alcohol varnish. 

No. 155. Bright-Red 

10 grams Safranine dissolved in i liter shellac or 
alcohol varnish. 

No. 156. Dark- Red 

7.5 grams Safranine, 
6.0 " Mahogany-Red, and 

1.5 " Chrysoidine, dissolved in i liter shellac 
or alcohol varnish. 

No. 157. Medium-Blue 

10 grams Induline dissolved in i liter shellac or alcohol 
varnish. 

No. 158. Deep-Black 

30 grams Lac-Black dissolved in i liter shellac or 
alcohol varnish. 

No. 159. Silver-Gray 

1.5 grams Silver-Gray dissolved in i liter shellac or 
alcohol varnish. 

No. 160. Silver-Gray Metallic Luster Stain, 
Soluble in Alcohol 

Pour the dry stain into a flat dish and dip into it the 
damp polishing ball. The stain adheres very readily to the 
ball and is worked into the surface and fixed by the act of 
polishing. 

When the surface is all covered regularly, give it a 
coat with bleached shellac in order to protect the metallic 
luster against rubbing. 

Shellac or alcohol varnishes, colored with basic aniline 
dyes, may be kept a very long time in closed glass bottles 
or stone jars. 



136 MORDANTING AND STAINING 

The Coloring of Wax 

Because of their direct solubility in wax, Olesole dyes 
and turpentine staining stock-solutions are excellent for 
shading, brightening or darkening colors when waxing. 

Melt I kilogram of white or yellow wax in a glazed or 
enamelled dish; stir into this when molten 500 cu. cm. of 
turpentine and add Olesole dyes or turpentine staining 
stock-solution until the wax seems to have the proper 
shade. Olesole dyes dissolve very rapidly in hot wax, and 
if stirred sufficiently with a wooden paddle, give a very 
regular stain. 

When cool and hard, apply the wax with a woolen 
cloth or a brush to the stained and sandpapered surface. 
Let harden for a day; then brush with a medium-stiff 
brush until there is a uniform dull polish. 

Such a correction of a stained article by means of wax 
IS wholly practicable; for even if the small amount of 
Olesole dye in the prepared wax fades out (due to the effect 
of light), there still remains intact the ground color given 
by the water-stain, and the change is not considerable. 

Remark: Many cabinet-makers use a siccative with Olesole 
wax, but this should not be done because linseed varnish ceases to dry 
as soon as even a slight quantity of Olesole dye is added. The surface 
is sticky months afterwards and often has to be completely restained. 

Process for Subsequent Covering of Unstained Pores 

of Stained Oak 

In the chapter entitled "Preliminary Preparation of 
Oak for Avoiding Unstained Pores," was mentioned the 
fact that the deep pores of oak and ash contain air-bubbles 
which render difficult and often prevent entirely the pene- 
tration of the staining solution. 

While staining solutions made from chemicals (i. e., 
Antique-Oak Stains "I," "K," "L," "M" and "S," 
Anthracene Stains, Special-Oak Stains and Oxidine 
Stains), may easily penetrate these air-bubbles on account 



MORDANTING AND STAINING 1 37 

of their mordacity, and also stain the deep-lying pores of 
oak and ash without any difficulty in most instances, 
nevertheless staining solutions made from aniline dyes 
only imperfectly penetrate into these air-filled pores. 
When applying these staining solutions to oak surfaces, 
there is formed a colored film of air over the pores, so that, 
while wet, they seem to be colored; but when the stained 
surface dries, this air-film bursts and the unstained pores 
appear. Preliminary treatment with a lo per cent, solution 
of cooking-salt the author found to be the best method of 
avoiding this when staining oak and ash (see pages 27-28). 
If for any reason this preliminary treatment was not given, 
or especially obstinate pores show unstained in spite of it, 
then they must be covered subsequently. 

This may be done without additional work at the time 
of waxing or matting. 

Melt the wax and add the proper Olesole dye for the 
tone of the stained surface, stirring it in with a wooden 
paddle until completely dissolved and the wax appears 
uniformly colored, which should take only a few minutes. 
Now drop a little of the colored, liquid wax from the wood- 
en paddle on a piece of white paper and compare the hard- 
ened drop of wax with the tone of the surface of the wood 
already stained. If the color of the dyed wax is too light, 
add a little more Olesole dye; if too dark, add more un- 
stained wax to lighten it. If it is the right tone, take it 
off the boiling water, let cool and harden, then wax the 
stained objects in the usual manner. The stained wax 
settles into the pores of the oak and ash, fills them, and the 
previously-unstained pores appear the same color as the 
surface. The tone of the stained surfaces is darkened but 
slightly if the wax is not colored too strongly and the coat 
applied is thin. 

This treatment also serves to smooth out any irregular- 
ities in the previous staining of the surface. 

After the wax has hardened, the object should be 
brushed and then lightly shellacked or matted. 



138 



MORDANTING AND STAINING 



According to the color of the object stained, use the 
following Olesole dyes for coloring the wax: 



Color of Stained Object. 


Olesole 


dye 


for coloring i kilo- 








gram of wax. 


I. 


Oak Brown About 3 g. Olesole Oak-Brown 


2. 


Antique-Oak Brown ' 


' 6g. 




Antique-Oak Brown 


3- 


Walnut Brown ' 


log. 




Walnut-Brown 


4- 


Dark Brown ' 


( 5g- 




Walnut- Brown and 








Black "BG" 


5- 


Light Mahogany ' 


5g- 




Mahogany "H" 


6. 


Dark Mahogany ' 


' log. 




Mahogany "D" 


7- 


Dark Red 


' i 5g. 
( 5g• 




Mahogany "D" and 








Red 


8. 


Olive 


' f 4g- 
' I is- 




Green and 








Orange "C" 


9- 


Green ' 


5g- 




Green 


ID. 


Dark Olive- Green ' 


' 1 5g- 
' ) 3g. 




Green and 








Blue 


II. 


Dull Blue-Green ' 


M 2g. 
' ( 3g- 




Green and 








Blue 


12. 


Dark Blue 


' log. 




Blue 


13- 


Light Dull-Blue 


2g. 




Blue 


14. 


Light Blue-Gray * 


I g- 




Black "B" 


15- 


Medium Gray ' 


3g- 




Black "B" 


16. 


Light Yellowish-Grey ' 


I g- 




Black "BG" 


17. 


Medium Yellowish-Gray * 

an< 


3g. 
i so on. 




Black "BG" 



These amounts per kilogram of wax are only intended for the first 
trial, and are to be modified according to the depth and shade of tone 
of the previously-stained surface. 

Use white wax for light, delicate and even bright 
colors, in order not to change their color; and yellow wax 
(unbleached wax) for brown tones. If for any reason the 
staining objects are not to be waxed, but immediately 
matted, the mattings should be colored with a proper ani- 
line dye, soluble in alcohol, as was described in the chapter 
entitled "The Coloring of Shellacs, Mattings and Alcohol 
Varnishes with Aniline Dyes, Soluble in Alcohol," (see 
pages 132 to 133). To do this, dissolve the aniline dye of 
the proper shade in hot, high per cent, alcohol, and add 



MORDANTING AND STAINING 1 39 

this solution to the matting until it has the same tone as 
the stained surface. 

If stained furniture is matted with this preparation, 
the pores being filled therewith, will show colored. 



Note — ^For table of weights and measures, see the following page. 



WEIGHTS 



1000 grams = i kilogram 

I " = 154324 grains 

28.350 " =1 ounce 
453.660 " =1 pound 



CUBIC MEASURES 



1000 cubic centimeters =: i liter 

I " " r= 16.23 minims 

29.5737 " " =^1 fluid ounce 

946.358 " " =1 quart 



LENGTH 

1000 millimeters = I meter 

25.40 " =^ I inch 

304.80 " =1 foot 

914.40 " =1 yard 



Printed by N. Allen Lindsay & Co., 134 Congress St., Boston. 



UN 6 '^"' 



One copy del. to Cat. Div. 



JUN 



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